Music 

Lib. 

MT 

110 

A7 

1911 

By   Eighteen 
Americaa    Teachers 


,|Analysis  and  Interpretation 
o/^ighteen  Violin 
Compositions 


/AMERICAN    TEACHERS 


>v 


PUBLISHED   BY 

TUE    VIOLINIST    PUBLISHING   COMPANY 


Copyright   1911 

by 
Ada   E.    Taylor 


Library 


"W 


THEORETICALLY,  all  well-trained  young  musicians  ought  to  be  com- 
petent teachers.  Actually  they  are  not.  They  do  not  make  so  many 
nor  so  serious  errors  as  they  used  to  do,  perhaps,  but,  however  well  they 
may  perform  they  generally  lack  entirely  what  the  medical  schools  call 
materia  medica,  that  is,  a  knowledge  of  the  materials  of  teaching — the 
studies  and  pieces  with  reference  to  their  educational  value,  whether  for 
mind  or  fingers,  or  both.  For  want  of  this  kind  of  training  or  acquirement, 
young  teachers  make  very  serious  blunders,  of  which  one  hardly  knows 
which  is  worst,  the  unwise  introduction  of  alleged  "classical  music"  (music 
by  writers  following  classical  models  without  classical  inspiration),  the  pre- 
mature attack  of  moderate  difficulties,  or  the  introduction  of  positive  trash. 
In  any  case  the  instruction  too  often  fails  of  doing  the  work  it  should  do, 
and  after  several  years  of  lessons  the  musical  education  remains  so  shallow 
that  the  pupil  easily  dismisses  it  to  the  limbo  of  the  forgotten. — Mathews. 


PREFACE. 

In  February,  1910,  the  editor  of  "The  Viohnist"  wrote  to  twenty-five  violin 
teachers,  either  private  or  connected  with  schools  and  universities,  as  follows : 

"The  series  of  articles  which  we  published  on  the  'Bowing  Question'  has 
proved  so  interesting  to  student  readers  that  many  requests  have  come  for  another 
series  which  shall  be  of  equal  practical  value.  We  expect,  therefore,  to  publish 
a  series  of  analytical  and  interpretive  articles ;  and  we  ask  you  to  make  a  choice 
of  some  etude  or  piece,  short  and  not  difficult.  The  analysis  and  interpretation  of 
this  selection  we  will  publish  in  'The  Violinist,'  together  with  zinc  etchings  of  the 
musical  illustrations." 

This  series  has  run  continuously  in  "The  Violinist"  for  more  than  a  year, 
beginning  with  March,  1910.  After  six  months  there  was  a  demand  for  files 
of  the  magazines  including  this  series — a  continually  increasing  demand,  which 
we  were  unable  to  satisfy.  So  we  have  compiled  in  book  form  these  articles,  and 
offer  them  to  the  teachers  and  students  of  America. 

That  both  students  and  teachers  have  availed  themselves  of  these  well- 
thought-out  lessons  is  borne  in  upon  us  as  we  receive  notices  of  concerts  from  all 
parts  of  the  country,  with  these  selections  on  the  programs.  And  that  the  careful 
analyses,  the  attention  to  theme  work,  the  beautiful  effects  by  different  phrasing 
or  bowing  have  had  good  results,  is  proved  by  the  fact  that  the  playing  of  these 
compositions  has  so  frequently  called  forth  special  praise. 

The  time  and  attention  of  the  violin  student  is  apt  to  be  so  taken  with  the 
technical  difficulties  of  the  instrument,  that  he  loses  sight  of  general  effectiveness. 
From  the  study  of  these  interpretations  he  gets  a  general  outline — a  view  of  the 
whole,  and  the  value  of  certain  forms  in  contributing  to  the  effect.  This  is  the 
line  of  study  for  the  would-be  artist.  And  after  the  study  of  several  compositions 
in  this  way,  study  of  this  phase  of  a  composition  as  well  as  of  the  technical  diffi- 
culties becomes  a  habit. 

Valuable  as  these  interpretive  articles  are  to  students,  they  are  more  helpful 
to  teachers.  The  American  teacher  will  not  agree  with  eyerything  said,  nor  will 
he  follow  blindly  the  suggestions  here  given ;  but  he  gets  the  view  point  of  an 
experienced  teacher  and  it  opens  to  him  new  avenues  of  thought. 

If  the  present  volume  helps  to  put  the  study  of  the  violin  on  a  more  artistic 
plane  for  the  large  numbers  of  young  students  in  our  country,  it  will  have 
answered  its  purpose. 

Ada  Elizabeth  Taylor 

Chicago,  May  15,  1911. 


TABLE  OF  CONTENTS. 

The  Art  of  Paganini Bernhard  Listemann  1 1 

The  Early  Training-  of  the  Analytical  and  Interpretive  Ability,  and  Studies 

Adopted  to  This   End Franz  C.  Bornschein  19 

General   Principles  of   Interpretation Otto  Meyer  o.'j 

A  David  Study  in  the  Seventh  Position Mayer  Wetherill  29 

Wieniavi^ski's  Kajaw^iak Heinrich  Hoevel  31 

Tonal  and  Breath  Effects  on  the  Violin Arturo  Tibaldi  32 

Tartini's  G  Minor  Sonata Herbert  Butler  35 

En  Bateau,  Claude  Achille  Debussy Frederick  Grover  39 

Mendelssohn's  Spring  Song E.  Bruce  Knowlton  41 

Gavotte — Franz  Joseph  Gossec Ruthyn  Turney  45 

Chant  Saris  Paroles,  Op.  2,  No.  3,  P.  Tschaikowsky Winfred  R.  Colton  49 

Bach's  First  Sonata  for  Violin  Alone Guy  VVoodard  53 

Liberty  and  License  in  Interpretation — Adoration,  Borowski.  .Otto  K.  Schill  56 

Humoreske,  Dvorak Gaylord  Yost  61 

Legende,  Carl  Bohm Margaret  De  Long  Tearse  62 

Mazurka  di  Concert,  Ovide  Musin J.  Willard  Swihart  65 

Gavotte  in  D,  Handel Johann  M.  Blose  67 


Bernhard    Listemann 


The  Art  of  Paganini 

by  Bernhard  Listemann 

A  short  historical  note  about  the  predecessors  of  Paganini,  and  the  art 
they  developed  and  cultivated,  will  enable  us  to  recognize  more  clearly  the 
foundation  on  which  Paganini  stands,  and  also  the  possibilities  for  reforms 
and  inventions  which  those  many  distinguished  men  had  put  within  his 
reach. 

The  first  man  in  history  who  raised  the  violin  to  a  real  solo  instrument, 
and  composed  works  which  are  still  appreciated  by  the  music  connoisseurs 
of  our  time,  is  Arcangelo  Corelli  (1653-1713).  Equally  distinguished  as 
violinist,  composer  and  art  philosopher,  he  could  not  fail  to  give  a  mighty 
impulse  to  the  violinists  and  musicians  of  his  time  and  to  indirectly  create 
a  school,  from  which  sprang  forth  men  like  Veracini,  Laurenti,  Clari,  Vitali, 
Perelli,  Ciampi,  Visconti,  Giacopino,  Alberti,  Albioni,  Vivaldi,  Locatelli, 
Tartini,  Geminiani,  Somis  (this  latter  becoming  the  founder  of  the  Pied- 
montese  school),  and  others.  While  in  reality  only  few  were  positive  pupils, 
all  of  them  were  benefited  by  his  playing  and  his  teachings. 

Giuseppe  Tartini  (1690-1770)  was  the  greatest  of  his  contemporaries. 
It  is  not  proven  that  he  was  a  pupil  of  Corelli.  His  intellect  was  equal  to 
Corelli's.  He  was  a  great,  many-sided  artist  in  every  sense,  more  progressive 
than  Corelli.  His  masterwork,  "Sonata  del  Diavolo,"  for  violin,  shows  won- 
derful technique  and  great  depth  in  its  tender  melodies. 

The  French  school  was  founded  by  Jean  Marie  Leclair,  born  in  Paris, 
1697,  murdered  in  1764,  who  began  his  career  as  ballet-dancer  and  ballet- 
master,  taking  up  the  violin  only  in  later  years  (under  Somis),  and  by  hard 
study  and  talent  was  finally  considered  the  foremost  player  in  France.  He 
was  an  excellent  composer,  although  his  treatment  of  the  violin  is  far  from 
being  as  bold  and  characteristic  as  Tartini's. 

French  violinists  of  distinction  in  the  eighteenth  century  were:  Senaille, 
Guignon,  Guillemain,  and,  probably  the  best  of  all,  Gavinies  (1726-1800), 
named  the  "French  Tartini,"  a  really  great  violinist,  known  to  us  by  his  "24 
Etudes,"  a  very  difficult  and  useful  but  musically  uninteresting  work. 

The  Piedmontese  school,  in  the  meantime,  had  brought  forth  such  vio- 
linists as  Giardini,  Ferrari,  John  Stamitz  and  Pugnani,  the  latter  becoming 
the  teacher  of  Viotti,  who  in  turn  became  the  greatest  violinist  the  world 
had  seen  up  to  that  time. 

Giovanni  Battista  Viotti  (1753-1824)  traveled  extensively  through  Ger- 
many, Russia,  France  and  England,  but  being  never  fully  satisfied  with  the 
financial  results,  he  turned  to  other  fields  for  a  living,  and  became  alternately 
accompanist  to  Queen  Marie  Antoinette,  conductor  of  the  Duke  of  Soubise, 


12  ANALYSIS     AND     INTERPRETATION 

and  associated  himself  with  the  tonsorial  artist  Leonard,  in  order  to  erect 
an  Italian  opera;  but,  being  unlucky  in  this  enterprise,  he  established  a  wine 
business  in  London,  with  the  same  disastrous  result.  Later  on  he  concertised 
again,  arousing  enthusiasm,  as  in  former  years,  and  also  succeeded  in  getting 
the  responsible  position  as  conductor  of  the  grand  opera  in  Paris ;  but  again 
pursued  by  ill-luck,  he  shook  off  all  ambition  and  died,  in  1824,  more  peace- 
fully than  he  had  lived.  His  compositions  are  numerous  and  are  of  a  classical 
character.  Viotti's  greatest  pupil  was  Jacques  Pierre  Joseph  Rode  (1774- 
1830).  As  violinist  and  composer,  his  record  is  quite  as  glorious  as  Viotti's. 
His  most  valuable  work  is  the  "24  Caprices,"  which  will  live  as  long  as  the 
violin  will  be  played. 

The  third  master  in  this  line  is  Rodolphe  Kreutzer  (1766-1831),  one  of 
the  first  stars  of  his  time,  and  a  most  prolific  composer  (about  three  dozen 
operas,  nineteen  concertos,  three  double  concertos,  fifteen  string  quartettes, 
fifteen  string  trios,  violin  sonatas,  duos,  variations,  and,  last  but  not  least, 
the  immortal  study-work,  forty  exercises  for  violin). 

Baillot  (1771-1842),  Lafont  (1781-1839)  and  Boucher  (1778-1861)  may 
conclude  the  list  of  French  violinists  and  composers  of  renown. 

The  German  school,  in  the  eighteenth  century,  had  produced,  among 
others:-  Tisendel,  J.  G.  Graun  (brother  of  the  celebrated  composer),  Konie- 
seck,  the  Bendas,  the  Stamitzs,  Canabison,  Foerster,  Cramer,  Banner,  Ignac, 
Fraenzel,  Eck  (the  latter  teacher  of  Spohr,  who  in  turn  became  the  real 
founder  of  the  modern  German  school,  which,  finally,  was  to  dominate  all 
others). 

We  will  now  consider  the  object  of  this  treatise,  Paganini,  who  was 
destined  to  surpass  all  the  efforts  of  his  predecessors  by  creating  for  us  an 
almost  new  violin  world.  Nicolo  Paganini  was  born  in  Genoa  on  February 
18,  1784.  At  a  very  tender  age  the  boy  had  to  commence  his  violin  studies. 
The  severe  treatment  of  his  father  had  the  expected  results  in  developing 
his  talent  most  rapidly.  Teachers  were  changed  several  times,  the  last  two 
being  Giacomo  Costa,  a  great  musical  authority  in  Genoa,  and  Alexandro 
Rolla,  in  Parma.  This  concluded  the  list  of  teachers,  the  boy  then  being 
thirteen  years  old.  Nicolo's  father  had  not  neglected  to  have  the  son  thor- 
oughly study  theory  and  composition  all  these  years.  In  his  ninth  year  he 
appeared  in  a  concert  as  violinist  and  composer  of  Variations  on  the  French 
air  "la  Carmagnole."  It  seems  that  as  early  as  this  period  he  was  already 
speculating  on  the  possibility  of  enlarging  the  technical  mechanism  of  the 
violin,  and  certainly  when  he  had  ceased  taking  lessons  (in  his  fourteenth 
year)  and  gave  a  concert  in  Genoa,  introducing  some  of  his  own  composi- 
tions, the  critics  of  that  city  found  the  technical  difficulties  so  unheard  of  as 
to  simply  declare  them  unsurmountable  to  other  violinists. 

From  this  year  begin  his  professional  tours  through  Italy,  first  with  his 


ART     OF     PAGANINI  13 

father  as  companion  and  manager,  but  very  soon  without  him,  as  the  father's 
tyranny  had  become  unbearable  to  the  son.  He  became  his  own  master  and. 
acquired  an  independence,  which  in  the  end  did  him  perhaps  more  harm  than 
good.  A  most  disastrous  passion  took  hold  of  him — the  passion  for  gambling. 
Not  seldom  that  this  frenzy  cost  him  on  a  single  evening  the  receipts  of  a 
whole  concert,  which  amounted  in  some  cases  to  more  than  one  thousand 
francs.  And  this  at  such  a  tender  age !  Consequently  he  was  at  times  reduced 
to  complete  poverty,  but  his  violin  helped  him  out  of  every  embarrassing 
situation. 

When  a  mere  child  he  had  studied  the  mandolin.  When  a  boy  of  sixteen 
or  seventeen  he  fell  in  love  with  a  lady  of  rank,  who  played  the  guitar  beauti- 
fully. Paganini  took  up  the  study  of  this  instrument  for  a  couple  of  years, 
neglecting  the  violin,  and  by  his  great  talent  for  finger  technique  acquired 
such  a  mastery  as  to  become  known  as  the  greatest  guitar  player  who  ever 
lived.     His  love  for  the  guitar  remained  till  his  death. 

In  1804  he  returned  to  Genoa,  occiipying  himself  chiefly  with  the  compo- 
sition of  four  grand  quartettes  for  strings  and  guitar.  In  1805  he  commenced 
concertising  again.  In  Lucca,  where  the  new  court  of  Princess  Eliza  (sister 
of  Napoleon  and  wife  of  Prince  Bacciochi)  had  just  been  established,  Paganini 
was  offered  the  position  as  director  of  the  Princess'  private  music  and  con- 
ductor of  the  opera,  and  though  the  salary  was  ridiculously  small,  he  accepted. 
The  Princess,  taking  the  greatest  interest  in  the  young  man,  spurred  his 
ambition  to  the  highest  pitch,  and  many  of  his  acquirements,  which  in  later 
years  astonished  all  Europe,  originated  here.  (Paganini's  own  statement.) 
He  learned  to  play  pieces  for  only  two  strings,  E  and  G,  and  finally  for  one 
single  string,  as,  for  instance,  his  military  sonata,  "Napoleon,"  on  the  G 
string,  which  surpassed  in  difficulties  anything  he  had  so  far  played.  This 
composition  is  unfortunately  lost. 

Paganini  remained  in  Lucca  three  years,  and  only  nominally  kept  his 
position,  when  the  Princess,  having  become  Grand  Duchess  of  Tuscany, 
removed  her  court  to  Florence.  It  was  about  this  time  that  he  had  a  serious 
attack  of  internal  inflammation  which  weakened  him  so  as  to  force  him  to  a 
protracted  inactivity.  After  this  we  find  him  appearing  less  frequently  in 
public,  and  see  him  finally  again  in  his  old  position  at  the  court  in  Florence. 
M.  Conestabile  connects  a  story  wnth  Paganini's  sojourn  in  and  departure 
trom  Florence,  as  follows : 

''At  a  grand  court  gala,  where  a  concert  preceded  a  ball.  Paganini,  who 
directed  the  former  and  was  to  have  performed,  appeared  in  the  orchestra  in 
his  uniform  of  captain  of  the  royal  gendarmerie.  The  Princess,  as  soon  as 
she  perceived  this,  sent  her  commands  that  the  uniform  was  to  be  replaced 
by  evening  dress.  He  replied  that  his  commission  allowed  him  to  wear  the 
uniform,  and  refused  to  change  it.     The  command  was  repeated  and  again 


14  ANALYSIS     AND     INTERPRETATION 

met  with  refusal ;  and  to  prove  that  he  defied  the  order  of  the  Grand  Duchess, 
and  that  he  did  not  mind  the  consequences  in  the  least,  he  walked  up  and 
down  the  hall  after  the  ball  had  commenced.  But  as  absolutism  prevailed 
at  court,  and  as  his  defiance  might  endanger  his  liberty,  he  left  Florence 
during  the  night  and  directed  his  steps  toward  Lombardy.  The  most  tempt- 
ing offers,  and  the  promise  of  the  Grand  Duchess'  leniency,  proved  unavailing 
to  induce  him  to  return." 

He  never  afterward  accepted  any  official  position,  though  in  later  years 
crowned  heads  honored  him  and  themselves  by  granting  him  titles  and 
medals. 

The  year  1813  saw  him  take  up  his  residence  in  Milan,  where  he  com- 
posed the  celebrated  witches'  dance  (le  Streghe)  after  a  ballet  of  "11  Noce 
de  Benevento  by  Sussmaier.  Here  he  was  attacked  again  by  his  old  malady, 
which  put  him  for  months  on  a  sick-bed.  Milan  seemed  to  please  him,  as 
he  lived  here  for  rather  long  periods  during  the  next  five  years,  also  appear- 
ing here  thirty-seven  times  in  concerts.  It  was  then  that  Lafont,  the  French 
violinist,  challenged  him  to  play  with  him  jointly  in  a  concert.  Paganini 
relates  of  this  affair: 

"Being  at  Genoa,  in  March,  1816,  I  heard  that  Lafont  was  giving  con- 
certs at  Milan,  for  which  city  I  immediately  started,  for  the  purpose  of  hear- 
ing him.  His  performance  pleased  me  exceedingly.  A  week  afterward  I 
gave  a  concert  at  the  Theater  La  Scala,  to  make  myself  known  to  him.  The 
next  day  Lafont  proposed  we  should  both  perform  on  the  same  evening.  I 
excused  myself  by  ^saying  that  such  experiments  were  always  impolitic,  as 
the  public  invariably  looked  upon  such  matters  as  duels,  in  which  there 
was  always  a  victim,  and  that  it  would  be  so  in  this  case ;  for  as  he  was 
acknowledged  the  best  violinist  in  France,  so  the  public  indulgently  con- 
sidered me  as  the  best  of  Italian  violinists.  Lafont  not  looking  at  it  in  this 
light,  I  was  obliged  to  accept  the  challenge.  I  allowed  him  to  regulate  the 
program,  which  he  did  in  the  following  manner:  We  each  in  turn  played 
one  of  our  own  compositions,  after  which  we  played  together  the  'Symphonic 
Concertante'  for  two  violins,  by  Kreutzer.  In  this  I  did  not  deviate  in  the 
least  from  the  author's  text  while  we  both  were  playing  our  own  parts;  but 
in  the  solos  I  yielded  to  my  own  imagination,  and  introduced  several  novel- 
ties, which  seemed  to  annoy  my  adversary.  Then  folIoAved  a  Russian  air 
with  variations,  by  Lafont,  and  I  finished  the  concert  with  my  variations  on 
"le  Streghe."  Lafont  probably  surpassed  me  in  tone,  but  the  applause  which 
followed  my  efforts  convinced  me  I  did  not  suffer  by  comparison." 

Paganini  began  his  first  foreign  tour  in  1828,  arriving  in  Vienna  March 
16.  His  world-renowned  triumphs  commence  here.  His  first  concert  there, 
on  March  29,  contains  the  following  solo  numbers :  Concerto  No.  2  (in  B 
minor)   with  the  "Glockchen"  rondo    (a  favorite  work  with   the  composer), 


ART     OF     PAGANINI  15 

Grand  Military  Sonata  on  the  (i  string,  and  Larghctto  and  variations  on  the 
finale-rondo  of  "Cenerentola,"  all  with  orchestral  accompaniment.  His  suc- 
cess exceeded  everything  that  had  been  heard  in  Vienna,  and  the  Theater 
Zeitung,  a  conservative  music  journal  of  Vienna,  of  April  4,  says : 

"Those  who  have  not  heard  Paganini  can  have  no  idea  what  he  is.  To 
dissect  his  playing  is  entirely  impossijjlc,  and  even  a  nearer  acquaintance 
with  his  art  and  virtuosity  will  leave  many  riddles  unsolved.  When  one  says 
that  Paganini  overcomes  incomprehensible  difficulties  so  surely  and  unosten- 
tatiously as  if  playing  some  easy  things ;  that  he  revels  in  double  stops  of 
thirds,  octaves  and  tenths,  in  harmoniques — single  and  double  and  low  and 
high — pizzicati  in  most  rapid  tempi  and  staccati  of  all  imaginable  description; 
when  one  says  that  his  bowing,  of  the  boldest  and  most  energetic  kind  in 
fast  movements,  thrills  us  to  the  quick ;  that  in  melodies  and  adagios  the 
violin  in  his  hands  sounds  as  no  human  voice  can  sound  more  beautiful  or 
more  touching,  and  that  every  singer  may  learn  from  his  playing — then  one 
has  indicated  only  what  Paganini's  violin  playing  is." 

We  ma}'-  mention  here  that  the  mere  appearance  of  Paganini  (he  was 
tall,  very  lean,  pale,  sickly-looking,  had  coal-block  eyes,  long,  black  and  wild 
hair,  and  at  the  movement  of  commencing  his  solo  invariably  putting  his 
right  foot  forward,  while  resting  his  right  elbow  almost  on  his  hip)  made 
a  deep  impression  on  every  audience.  After  his  sixth  concert  in  Vienna  (the 
last  one  given  for  charity)  he  went  to  Prague.  This  city  proved  the  only 
place  in  Europe  where  there  was  a  systematical  opposition  toward  him.  The 
rivalry  between  Vienna  and  Prague  in  musical  matters  was  so  pronounced 
that  no  artist  could  hope  to  please  both  cities. 

On  March  9,  1831,  he  gave  his  first  concert  in  Paris.  The  enthusiasm, 
the  delirium  of  the  Vienna  audiences  reached  its  climax  here,  especially  after 
the  performance  of  his  fourth  concerto  in  E,  which  unfortunately  is  one  of 
his  lost  compositions.  The  many  violinists  who  had  been  heard  here,  Gavinies, 
Viotti,  Rode,  Kreutzer,  Baillot,  Lafont,  Boucher,  etc.,  seemed  to  have  sunk 
into  oblivion. 

Paganini's  sojourn  in  France  lasted  only  two  months — England,  Scotland 
and  Ireland  were  visited  next.  London  did  not  seem  to  fully  appreciate  his 
playing,  although  his  best  concert  receipts  date  from  his  London  time.  He 
was  under  the  management  of  som.e  speculator  in  the  English  capital  whose 
moves  were  most  severely  criticised.  What  would  those  critics  say  to  the 
turn  art  in  connection  with  business  has  taken  in  our  times,  when  an  artist 
doing  his  own  business  is  regarded  as  an  impossibility ! 

After  an  absence  of  nearly  six  years,  Paganini  returned  to  Italy,  rich  in 
honors  and  worldly  goods,  but  broken  in  health.  He  bought  a  fine  country 
place  near  Parmo  (Villa  Gajona),  and  here  and  in  Milan  and  Genoa  he  alter- 
nately lived  to  the  end  of  his  days.     From  time  to  time  he  appeared  in  con- 


16  ANALYSIS     AND     INTERPRETATION 

certs  again,  also  played  in  Lyons  and  Paris,  to  which  latter  city  he  was 
bound  by  some  foolish  financial  project  which  soon  collapsed,  with  a  loss 
to  him  of  fifty  thousand  francs. 

In  1839  his  old  malady,  phthisis  of  the  larynx,  became  acute.  By  medical 
advice  he  spent  the  winter  in  the  mild  climate  of  Marseilles.  He  returned 
the  next  spring  by  sea  to  Genoa  with  the  firm  belief  that  his  health  had  been 
restored.  Still,  not  later  than  October  he  had  to  try  the  climate  of  Nice, 
which,  instead  of  affording  him  help,  scaled  his  fate.  His  voice  became 
extinct,  while  the  frequent  coughing  fits  almost  suffocated  him.  He  was 
reduced  to  a  skeleton,  and  death  was  on  his  face.  An  Italian  friend,  who 
spent  the  last  hours  with  him,  says:  "On  the  last  night  of  his  existence  he 
appeared  unu-sually  tranquil.  He  had  slept  a  little ;  when  he  awoke  he 
requested  that  the  curtains  of  his  bed  should  be  drawn,  so  that  he  could 
contemplate  the  moon,  which  at  its  full  was  advancing  calmly  in  the  immen- 
sit}''  of  the  heavens.  Sretching  forth  his  hands  toward  his  enchanted  violin 
— to  the  faithful  companion  of  his  travels,  to  the  magician  which  had  robbed 
care  of  its  stings — he  sent  to  heaven,  with  its  last  sounds,  the  last  sigh  of 
a  life  which  had  been  all  melody." 

The  great  man  died  on  May  2^,  1840.  His  remains  were  not  allowed 
interment  by  the  Bishop  of  Nice,  Monsignor  Antonio  Galvano,  because 
Paganini  had  died  without  receiving  the  last  rites  of  the  church.  Tlie  great- 
ness of  the  genius  was  as  nothing  compared  to  the  mere  belief  of  the  man. 
The  friends  of  Paganini,  in  their  efforts  to  have  the  bishop  reconsider  his 
decision,  succeeded  after  five  years  of  controversy,  when  the  remains  were 
finally  brought  to  the  Villa  Gajona  and  interred  in  the  village  church. 

The  bulk  of  Paganini's  fortune,  about  two  million  francs,  as  also  the 
precious  collection  of  instruments  (with  the  exception  of  his  favorite  Guar- 
nerius,  bequeathed  to  the  Genoa  museum)  went  to  his  son,  Baron  Achilla 
Paganini. 

That  Paganini  had  not  a  few  enemies  (mostly  professional)  is  a  lot 
shared  by  all  men  of  distinction  and  greatness.  He  was  accused  of  dissipa- 
tion, measureless  jealousy,  murder,  greed,  avarice  and  charlatanism  in  his 
art.  If  he  had  been  a  compilation  of  -all  these  vices,  how  is  it  possible  that 
the  world  should  have  idolized  him  for  forty  years  and  longer,  all  the  time 
knowing  of  his  worthlessness  as  a  man,  and  of  his  humbug  as  a  virtuoso? 
The  numerous  concerts  for  charity  he  gave  show  us  his  nobler  impulses. 

Lack  of  almost  any  kind  of  education,  the  severe  treatment  by  a  tyran- 
nical father,  early  triumphs  on  the  concert  stage,  and  the  accompanying 
homage  may  to  a  great  extent  account  for  his  foolish  deeds.  His  generous 
gift  of  twenty  thousand  francs  to  the  young  composer  Berlioz,  whose  music 
fascinated  Paganini,  has  found  skeptical  critics,  among  whom  Ferd.  Hiller 
distinguished  himself  in  explaining  that  Paganini  had  simply  lent  his  name 


ART     OF     PAGANINI  17 

to  the  transaction  and  then  shamefully  posed  as  real  donator.  But  Hiller  was 
an  influential  member  of  that  conservative  faction  which  glorified  the  clas- 
sical period  of  music  at  the  expense  of  everything  else  that  deviated  from 
that  path,  and  so  he  presumably  only  saw  in  Paganini  a  charlatan  virtuoso, 
because  he  never  had  played  Bach's  works,  or  the  Beethoven  concerto.  Many 
years  ago  I  had  a  conversation  with  Joachim  and  Vieuxtemps  regarding 
Paganini's  merits  as  virtuoso.  The  one,  an  intimate  friend  to  F.  Hiller,  an^ 
having  never  heard  Paganini,  gave  a  very  depreciative  opinion;  while  the 
other,  who  had  heard  Paganini  a  number  of  times,  spoke  of  him  as  "the 
greatest  of  us  all." 

Paganini  loved  his  mother  and  his  child  dearly,  showed  a  friendly  and 
kind  disposition  toward  people  whom  he  liked,  bothered  nobody  with  his  self- 
praise  and  self-glorification,  spoke  with  warmth  and  kindness  of  rival  violin- 
ists, and  v/as  in  rapture  when  he  heard  good  opera  music,  or  when  he  could 
play  a  Beethoven  quartette. 

His  compositions  are  full  of  originality,  particularly  the  two  concertos. 
Great,  and  master  works  in  every  sense^  are  the  "24  Capriccios"  for  violin. 
They  are  short  and  concise  in  form,  but  possess  such  a  pronounced  character, 
and  document  a  source  of  such  inexhaustible  technical  possibilities,  that  all 
that  has  been  written  since  on  the  high-grade  technique  plan  simply  pales 
before  this  work.     Genius  is  here,  pure  nd  simple. 

None  of  Paganini's  concert  pieces  indicate  the  interpretation  they  re- 
ceived by  the  composer.  Although,  not,  in  a  certain  sense,  allowing  us  the 
full  benefit,  they  have  opened  to  us  an  infinitely  great  horizon  in  the  mastery 
of  mechanical  matters  and  requirements,  which  are  as  indispensable  to  a 
modern  violinist  of  talent  and  ambition  as  the  Wagnerian  orchestra  is  to  an 
ambitious  composer. 

Paganini's  virtuosity  will  remain  the  center  around  which  the  violin 
world  moves.  Great  violinists  were  before  him,  but  none  has  climbed  the 
liciqlit  on   which  Paganini's  genius  throned. 


Franz  C.  Bomschein 


The  Early  Training  of  the    Analytical   and    Interpretive 
Ability,  and  Studies  Adopted  to  This  Line 

by  Franz  C.  Bornschein 

To  the  average  violin  teacher  and  student  the  art  of  interpretation 
has  but  vague  meaning,  and  because  of  the  lack  of  general  musical 
knowledge  aside  from  the  requirements  of  mere  violin-playing  needed 
for  a  perfect  understanding  thereof,  this  part  of  their  teaching,  or 
study,  is  usually  neglected.  Most  students  are  allowed  to  regard 
interpretative  ability  as  some  mystical  power  that  will  come  to  them 
only  after  having  tasted  of  life's  joys  and  miseries.  The  public  also 
has  erroneously  accepted  this  idea,  for  the  great  artist  is  supposed 
to  infuse  his  soul  into  a  composition  because  he  has  suffered.  This 
perhaps  might  have  some  bearing  on  the  emotions  of  the  artist  and 
eft'ect  his  playing,  but  physical  pain  and  mental  anguish  are  not  the 
cause  of  his  ability  to  portray  the  composer's  intentions. 

What,  then,  is  the  true  meaning  of  interpretation,  and  what  con- 
stitutes the  power  of  the  artist  in  this  respect? 

The  true  meaning  of  interpretation  in  music  is  the  ability  to  give 
forth  an  expressive  version  of  the  composer's  ideas,  both  from  the  con- 
structive as  well  as  the  poetic  and  imaginative  side,  in  which  there  has 
been  instilled  some  of  the  players  personality  and  temperament, 
always  with  due  reverence  and  regard,  however,  for  the  real  intentions 
and  purport  of  the  composer.  This  will  require  intellectual  training 
and  general  musical  intelligence  combined  with  emotional  and  tempera- 
mental control.  If  we  analyze  further  what  produces  this  power  for 
the  artist,  we  find  that  it  arises  from  the  following  causes : 

1.  Detailed  study  of  every  note  considering  its  dynamic  and 
rhythmic  character  with  regard  to  general  and  special  indications  of 
tempo  and  style. 

2.  Attention  to  nuance,  contour  and  melodic  outline  of  motives, 
themes,  sentences  and  periods. 

3.  Selecting  the  best  technical  facilities  of  bowing  and  fingering 
for  same. 

4.  Careful  analytical  thought  and  long  mental  preparation  as  to 
the  proper  tonal  quality  and  value  of  each  phrase. 

5.  Knowledge  of  the  harmonic  arrangement  and  the  constructive 
form  of  the  entire  composition  with  its  occurrence  of  climax. 

To  all  of  this  is  added  the  emotional  temperament  of  the  player. 


20  ANALYSIS     AND     INTERPRETATION 

Inspired  by  the  subtleties  and  the  poetical  idea  of  the  composer's 
thoughts,  the  player  lets  his  imagination  soar  into  the  realms  of  tone 
and  becomes  the  medium  of  reproduction,  expressing  beautiful  melody, 
enthralling  the  listener  and  holding  the  hearer  spellbound.  This  is 
the  real  interpretative  ability  of  a  true  artist,  and  it  will  be  seen  that 
mentality  and  understanding  combined  with  art  spirit  produce  this 
power — not  suffering. 

While  we  know  that  our  pupils  are  not  all  destined  to  become 
great  players,  and  that  the  road  to  these  ambitious  heights  is  long  and 
wearisome,  it  will  be  well  to  cultivate  ideals  early  in  the  course  of 
instruction.  Create  enthusiasm,  even  in  the  feeblest  efforts  of  the 
beginner,  and  add  joy  to  the  work  from  the  very  start.  Convince  the 
student  of  the  nobleness  of  music  and  clothe  the  drudgery  of  acquiring 
technical  equipment  with  a  poetic  mantle,  by  appealing  to  the  im- 
aginative and  fanciful  side  of  the  art  from  the  earliest  stages  of  study. 
Remember  that  through  this  there  will  arise  love  for  the  work,  and  a 
good  sense  of  musical  appreciation  develop. 

The  main  purpose  of  music  which  is  the  power  of  melody  to  voice 
endless  expression  of  mood  and  emotion  is  sadly  overlooked  by  many 
teachers  of  the  violin.  Some  will  center  their  attention  for  a  long 
period  of  time  on  the  technic  of  the  left  hand  alone,  others  require 
perfect  discipline  in  rhythm  and  control  of  the  right  arm — perhaps  even 
insist  upon  mastering  the  4,000  bowings  of  Sevcik  (horrors!)  before 
any  attempt  at  interpretation  is  begun.  While  the  above  thorough- 
ness will  produce  technic  along  certain  lines,  the  effects  thereof  will 
be  psychologically  disastrous  bn  the  pupil.  Let  the  American  violin 
teacher  consider  it  his  mission  with  the  coming  generation  and  aid  in 
furthering  the  cause  of  music  in  this  country  by  instilling  into  each 
pupil,  first  of  all,  more  art  spirit,  more  reverence  for  the  beauty  of 
music,  and  seek  to  develop  better  discrimination  and  establish  higher 
appreciation  of  the  intentions  of  the  composer,  along  with  the  purely 
mechanical  and  technical  part  of  the  study. 

The  student  should  not  be  required  to  spend  years  in  battling  with 
the  attaining  of  technic  alone,  but  as  soon  as  some  little  knowledge  of 
elementary  bowing  and  fingering  is  secured  the  interpretative  ability 
of  the  pupil  should  be  cultivated.  To  help  gain  the  emotional  com- 
mand, both  mental  and  physical,  needed  for  this  training,  it  is  best 
to  begin  while  the  student's  problems  are  less  involved  musically.  As 
the  beginner  is  grappling  with  the  mysteries  of  bowing  and  learning 
the  difference  of  legato,  staccato,  martelato,  etc.,  it  will  be  advisable  to 
teach  their  usage  and  show  their  value  from  an  interpretative  side,  by 
immediate  appreciation,  not  alone  with  the  old-fashioned  mechanical 


TRAINING     OF     ANALYTICAL     ABILITY  21 

exercise  in  which  only  one  kind  of  stroke  and  rhythm  occurs  through- 
out, but  by  real  melodies. 

Here  the  pupil  will  learn  phrase  ouilding  and  be  helped  in  gaining 
analytical  knowledge  from  the  begins  mg.  These  melodies  should  not 
be  long,  in  fact  to  be  properly  undci  stood  quite  short,  but  of  a  dis- 
tinctly musical  nature.  The  pupil  should  be  taught  the  meaning  of 
tempo  indications,  the  significance  of  all  dynamic  characters  and  marks 
of  expression  used  therein  be  explain  A,  and  the  enforcement  of  the  use 
of  same  insisted  upon.  Imaginative  pictures  may  be  verbally  drawn  to 
help  produce  the  characteristic  qualities  of  tone  required.  Telling 
a  little  story  to  help  illustrate  a  rhythm  will  do  more  to  assist  the  pupi' 
in  getting  results  than  hours  of  dry  mechanical  grinding  over  the 
subject. 

The  teacher  should  ascertain  whether  the  beginner  has  normal 
color  sense,  and  if  so,  valuable  aid  can  be  given  in  developing  tonal 
power  and  quality  by  suggesting  the  dififerent  shades  of  the  spectrum. 
Often  the  mere  mentioning  of  a  color,  say  for  example  crimson,  yellow, 
violet,  blue,  will  not  only  have  the  effect  of  producing  quality  of  tone, 
but  be  the  means  of  giving  the  proper  atmosphere  and  mood  to  the 
playing  of  an  entire  phrase  or  composition.  By  drawing  similes,  using 
well-known  lines  from  some  poem  to  show  how  the  building  of  verse 
and  the  construction  of  melody  are  somewhat  alike,  the  pupil  will 
readily  understand  form  and  balance  in  music.  It  will  be  easy  to  show 
this  by  using  a  simple  four-lined  verse,  each  line  with  its  rhyme  corre- 
sponding to  the  four  phrases,  with  their  half  and  closing  cadence,  of 
the  sixteen  measure  sentence. 

This  illustration  can  be  carried  still  further,  using  more  or  longer 
\erscs  to  explain  larger  forms.  The  poetic  idea  and  real  intent  of  the 
music,  while  sometimes  adequately  indicated  by  title  or  tempo  sug- 
gestion, should  be  further  impressed  on  the  pupil  by  vivid  descriptions. 
Thus,  for  example,  the  true  spirit  of  a  Berceuse  will  be  instilled  into 
the  reading  thereof  if  a  word  painting  is  drawn,  depicting  the  careworn 
but  sympathetic  mother  as  she  fondles  her  little  one,  crooning  to  it 
and  rocking  the  old  trundle  cradle  gently  to  and  fro  at  the  open  fire- 
place, thinking  while  the  child  softly  slumbers  of  the  glory  of  the  life 
that  is  before  it.  While  the  pupil's  sentiment  must  be  appealed  to  and 
the  romantic  qualities  of  thought  nourished,  great  care  should  be  taken 
by  the  teacher  not  to  allow  over  expression  or  mawkishness.  The  be- 
ginner should  be  taught  the  proper  use  of  vibrato  and  the  manner  of 
producing  same  correctly,  and  not  allowed  to  pick  up  this  knowledge 
alone,  guided  simply  by  instinct  and  temperament.  INIany  otherwise 
meritorious  interpretations  have  been  ruined  by  faulty  vibrato.     Illus- 


22  ANALYSIS     AND     INTERPRETATION 

trate  how  it  differs,  both  in  production  and  application,  in  a  slow 
cantalene  phrase  and  faster  rhythmic  melody.  Show  how  it  is  needed 
on  long  sustained  tones  and  not  on  rapidly  moving  passage  work. 
Constantly  warn  against  its  abuse  and  wrong  application,  for  it  is  just 
as  harmful  to  the  violinst's  tone  quality  and  style,  as  the  excessive 
tremolo  is  to  the  voice  of  the  singer.  The  effectiveness  of  portamento, 
when  properly  executed,  adds  much  beauty  to  tone  production.  It 
should,  however,  be  most  discreetly  used  so  as  not  to  become  objec- 
tionable. 

Be  always  on  guard  that  the  pupil  does  not  overdo  same,  for  too 
much  portamento  soon  tires  the  listener  and  spoils  interpretation.  It 
will  now  be  seen  that  early  training  and  development  of  the  analytical 
and  interpretative  ability  is  of  greatest  importance,  for  through  this, 
the  pupil  will  be  better  able  to  recognize  the  beauty  of  melody  and 
appreciate  the  real  joy  of  music. 

It  will  spur  on  greater  efforts  for  work  because  of  added  interest, 
and  excellent  results  will  follow  both  for  pupil  and  teacher. 

There  are  many  splendid  studies  adapted  to  this  line,  in  fact  violin 
literature  is  stored  with  a  wealth  of  melodic  gems,  and  each  teacher 
should  have  his  special  favorites  to  use  with  different  pupils.  The 
following  material  has  been  found  to  be  useful  with  the  average  pupil: 

Kelley,  50  Graded  Melodies.    Volume  I  (for  violin  and  piano). 

Beazley,  18  Original  Melodies  (for  violin  and  piano). 

Tours,  30  Original  Melodies  (for  violin  and  piano). 

Kayser,  Opus  44,  I,  II,  Exercises. 

Mazas,  Opus  36,  I,  II,  Special  Exercises. 

Kelly,  Volume  I 

This  list  is  not  to  be  regarded  as  a  complete  course  of  instruction 
along  this  line,  but  only  to  suggest  the  kind  of  material  that  will  serve 
the  purpose.  If  the  beginner  is  quite  young  it  perhaps  might  be  ad- 
visable to  use  the  Graded  Pieces  edited  by  Kelley,  Vol.  I,  for  prelim- 
inary study.  These  pieces  employ  the  simplest  means,  and  yet  are  of 
musical  interest.  With  slight  exceptions,  the  grading  can  be  followed. 
The  order  in  which  they  should  be  taken  will,  however,  depend  upon 
the  pupil.  While  this  volume  contains  folksongs  and  patriotic  airs,  the 
teacher  should  avoid  assigning  these  as  interpretative  studies,  because 
the  pupil  has  been  unconsciously  affected  by  traditional  absurdities 
that  exist  regarding  their  musical  rendition.  If  the  pupil  is  not  a  child, 
or  has  mental  control  and  some  little  musical  grasp,  the  work  along 
this  line  can  begin  at  once  with  the  melodies  by  Beazley.  These  have 
attractive  titles,  excepting  the  Valsette,  No.  3,  which  is  misnamed,  not 


TRAINING     OF     ANALYTICAL     ABILITY  23 

having-  the  character  as  indicated.  Tlie  musical  construction  is  plain 
and  easily  analyzed,  and  the  poetic  idea  and  spirit  of  each  can  readily 
be  conveyed  by  the  student.  Great  command  and  broader  under- 
standing will  be  required  before  the  Tours'  Melodies  can  be  studied. 

As  these  pieces  advance  in  musical  worth,  being  well  conceived 
and  beautifully  harmonized,  they  will  need  special  attention  and  regard 
for  interpretation.  At  this  stage  of  development,  and  for  some  time  to 
come,  the  pupil  still  needs  the  stimulus  afforded  by  well-selected  titles, 
to  give  some  idea  as  to  the  meaning  of  the  composition. 

It  will,  therefore,  be  found  useful  to  create  names  and  invent 
stories  to  fit  these  melodies. 

Arouse  the  pupil's  imagination  through  poetic  suggestions  and 
results  will  be  evident.  The  following  names  will  give  an  idea  of  the 
proper  spirit  and  mood  of  some  of  these  melodies,  the  meaning  of 
others  being  self-evident : 

I.  Going  to  Church.  2.  At  the  Service.  3.  Coming  from 
Church.  4.  The  Fair  Princess.  5.  Christmas  Cheer.  6.  On  the 
Lake.  7.  Dance  on  the  Village  Green.  8.  The  Sportive  Brownies. 
9.  In  the  Meadow.  11.  Pixie's  Frolic.  13.  Fable.  15.  A  Sailor's 
Story.  17.  Sleeping  Beauty.  19.  Moonbeams.  20.  Nymphs  at  Play. 
21.  The  Gay  Serenader.  22.  Tarantelle.  23.  Festival  Spirit.  24. 
The  Piper.  26.  Legend.  27.  The  Cricket  and  the  Grasshopper. 
29.    The  Mournful  Gondolier.    30.    Graduation. 

Piano  accompaniments  should,  of  course,  be  played  by  the  teacher, 
giving  the  pupil  support  harmonically,  thereby  aiding  in  establishing 
the  musical  intent.  If  same  do  not  exist  in  printed  form,  they  should 
be  improvised,  or  at  least  suitable  rhythmic  background  given,  prefer- 
ably on  the  piano,  as  this  allows  students  to  hear  their  own  efiforts  and 
correct  imperfections  quicker  than  when  an  obligato  violin  part  is 
played. 

Many  of  these  studies  will  bear  equally  picturesque  description 
and  suggestion,  which  will  allure  the  imagination  and  engage  the  in- 
terest of  even  the  most  phlegmatic  or  prosaic  pupil. 

It  will,  therefore,  be  of  greatest  advantage  and  benefit  for  both 
teacher  and  student  to  devote  thought  and  attention  to  the  aesthetic 
side  of  their  art,  and  not  neglect  this  most  important  training,  which 
has  the  power  of  transforming  mere  notes  into  art  shapes,  breathing 
into  them  the  life  and  spirit  that  produce  the  soulful  purpose  of  music. 

Kayser,  Opus  44. 

Kayser,  Opus  44,  contains  splendid  material.  These  exercises, 
being  short,  melodic  sketches,  will  be  found  exceedingly  useful  and 


24  ANALYSIS     AND     INTERPRETATION 

interesting.  Musical  content  and  purport  here  too  will  become  clearer 
to  the  pupil  if  illustrated  througli  little  stories.  For  example,  No.  2 
could  be  called  "The  Miller  and  the  Mouse."  The  first  section  (six- 
teenth notes),  representing  the  clatter  of  the  mill  wheel,  a<^  the  old 
miller  is  laboriously  grinding  his  corn,  thinking  greedily  ot  the  few 
grains  that  the  little  mouse  is  nibbling  in  the  corner.  The  miller  stops 
grinding  and  stealthily  gives  chase  to  the  mouse,  whose  anxious  pieps 
are  heard  (accentuated  quarter  notes  in  second  part),  and  striking  in 
vain  at  the  little  offender  (sporzato  eighth  notes),  gives  up  the  chase 
and  resumes  grinding.  Other  appropriate  names  to  be  suggested  are : 
No.  4.  Country  Dance.  5.  The  Rocking  Horse.  6.  Rustic  Proces- 
sion. 7.  Galloping  Steed.  8.  The  Organ.  9.  The  Winding  Stream. 
10.  The  Chirping  Sparrow.  11.  The  Dirge  of  the  Gnomes.  12.  The 
Beetle.  13.  The  Highwaymen  and  the  Hunters.  14.  Old  Kitty  Ma- 
lone.  15  and  16,  combined.  The  Surf.  17  and  18.  "Soldiers  Bold." 
19.  The  Wren.  20.  Stately  Minuet.  21.  The  Canny  Scotchman. 
22.  The  Witty  Irishman.  23.  The  Sneezing  Bandit.  24  and  25.  The 
Prancing  Pony. 

Mazas,  Opus  36,  No.  2 

Perhaps  the  most  important  studies  along  this  line  are  those  of 
Mazas,  Opus  36,  I,  H.  These  are  universally  used,  and  also  sadly 
misused,  as  they  are  usually  taken  much  too  early  in  the  course  of  in- 
struction. It  need  hardly  be  mentioned  that  they  are  not  graded  ac- 
cording to  their  order.  The  teacher  and  pupil  who  sees  in  them  only 
the  notes  as  offering  technical  problems  for  the  bow  and  fingers  is 
indeed  taking  a  one-sided  view. 

Being  truly  violinistic  in  style,  and  containing  much  of  melodic 
interest  and  rhythmic  value,  they  are  especially  adapted  for  and  will 
thoroughly  arouse  and  stimulate  interpretation.  Mental  suggestion 
(by  illustration  and  description),  as  previously  outlined,  can  be  advan- 
tageously used.  The  technical  requirements  of  bowing  will  be  gained 
much  quicker,  and  a  more  effective  musical  rendition  secured,  for 
instance,  if  the  following  story  is  told  to  illustrate  exercise  No.  2 : 

"The  Roman  emperor  has  declared  a  fete  day,  and  will  publicly 
honor  and  review  some  of  his  favorite  subjects.  The  populace  is  all 
astir  with  the  spirit  of  the  ceremony.  The  procession  of  stalwart 
gladiators  has  formed,  and  they  stride  nobly  forth  to  the  arena.  (This 
is  represented  by  the  accented  quarter  notes,  taken  with  full  stroke  of 
the  bow,  measure  i — 7,  9 — 15.)  Occasionally  one  proudly  readjusts 
his  toga,  letting  it  float  lightly  in  the  air  and  fall  in  graceful  folds  about 
his  strong  frame.  (Measure  8  and  16.)  They  are  followed  by  a  body 
of    heroic    women,   who    endeavor   to   be    quite    Amazonian    (17 — 18, 


TRAINING     OF     ANALYTICAL     ABILITY  25 

20 — 21,  Portamento  stroke),  hut  the  charm  oi  ihcir  feminine  beauty  is 
not  fully  concealed.  (19 — 22.)  Now  a  numher  of  youths  and  boys 
are  passing,  alert,  but  almost  impish  in  importance.  (Meas.  27^ — 26, 
martelato.)  Here  again  are  some  gladiators,  still  more  dignified  in 
bearing  (meas.  2/ — T)^)^  perhaps  even  displaying  a  trace  of  emotion 
for  what  is  about  to  transpire  (meas.  33 — 34).  Small  boys  are  jostling 
each  other  with  impatience  and  suspense  (meas.  35 — 40),  eagerly 
awaiting  the  august  announcement  and  the  award  of  honors  by  the 
emperor,  while  lithesctme  maidens  gracefully  scatter  flowers  (meas. 
41 — 49).  The  fortunate  winners  advancing  with  glowing  pride  to  re- 
ceive recognition  for  their  valor  (meas.  50 — 53),  as  the  populace  is 
wildly  exclaiming  its  admiration  (meas.  51 — 52).  Happy  children  skip 
gleefully  about  (meas.  53 — 54),  and  young  boys  shout  their  approval 
lustily  (meas.  55 — 58).  The  joyous  maidens  continue  to  shower 
fragrant  blossoms  upon  the  heroes  (meas.  59 — 62),  and  a  mighty  cheer 
for  the  emperor  arises  (meas.  63 — 64),  the  populace  thus  giving  thanks 
for  the  ceremony." 


Otto  Meyer 


General  Principles  of  Interpretation 

by  Otto  Meyer 

V^IOLIN  pupils  are  often  bewildered  upon  hearing  a  composition  played 
by  several  great  artists  to  find  that  the  interpretations  differ  not 
only  from  each  other  but  from  that  which  their  teacher  has  taught 
them.  The  question  then  naturally  suggests  itself  which  interpretation  was 
right,  or  is  it  possible  that  all  these  interpretations,  although  different,  can 
be  right.  There  are  certain  general  principles  underlying  interpretation 
which  it  is  most  necessary  for  all  violinists  and  musicians  to  grasp.  By 
grasping  these  principles  we  will  find  that  the  teacher  commanding  us  to 
play  here,  loud,  and  here,  soft;  this  in  strict  tempo  and  that  more  freely,  has 
a  reason,  and  if  we  understand  that  reason  we  will  find  it  much  easier  to 
follow  the  suggestions.  These  general  principles  also  have  great  value  for 
the  following  reasons: 

The  pupil  will  not  be  able  to  have  the  musical  guidance  of  his  teacher 
for  all  of  the  pieces  that  he  learns.  There  comes  a  time  when  he  must  think 
for  himself,  and  it  is  then  that  the  difference  is  shown  between  the  pupil  who 
obeyed  blindly  his  teacher's  commands  and  the  one  who  has  learned  to  think 
for  himself.  Also,  if  we  would  intelligently  criticize  others,  we  must  learn 
to  understand  whether  an  interpretation  is  legitimate  or  whether  it  breaks 
the  rules  of  good  art.    What  are  the  requirements  for  good  interpretation? 

First  of  all  we  need  technic  in  every  sense  of  the  word.  By  technic  I 
do  not  mean  merely  command  of  the  fingers,  but  also  control  of  the  bow  and 
knowledge  of  the  possibilities  of  tone  which  the  violin  furnishes.  Have 
you  ever  noticed  what  dilYerent  qualities  of  tone  one  gets  by  playing  near 
the  bridge  or  over  the  fingerboard,  and  at  different  speeds?  If  not,  j^ou  are 
not  studying  intelligently  the  technic  of  the  bow. 

The  first  important  point  in  correct  interpretation  is  to  study  the  life 
and  environment  of  the  composer.  For  example,  in  studying  the  life  of  Bach, 
we  would  find  that  he  reveled  in  fugues  and  dance  forms,  both  of  which 
suggest  to  the  mind  a  relatively  strict  tempo.  If  we  should  study  something 
of  Chopin,  we  would  read  concerning  him  of  his  dreamy  nature,  love  of  the 
gentler  moods  and  that  he  was  the  composer  who  first  introduced  the  rubato, 
which  term  translated  means  playing  without  strict  regard  to  the  value  of 
the  notes  a  small  figure  generally  composed  of  grace  notes.  A  study  of  the 
composer's  life  will  give  us  a  general  idea  of  whether  the  composition  should 
be  played  in  strict  tempo  and  with  only  large  shadings,  or  with  more  or  less 
freedom  of  tempo  and  delicate  shadings  of  tone. 

As  a  general  rule,  you  will  find  that  the  old  composers  are  to  be  inter- 
preted  in   rather  strict  time  and   with   a  very   dignified   style,  and   that   the 


28  ANALYSIS     AND     INTERPRETATION 

compositions  of  the  later,  or  so-called  romantic  composers,  permit  of  more 
freedom  and  more  individuality  of  interpretation. 

Having  grasped  the  way  of  thinking  of  our  composer  we  must  now  look 
at  our  specific  selection.  We  must  investigate  carefully  the  meaning  of  the 
title.  For  example,  if  it  is  a  gavotte,  a  siciliano  or  a  minuet,  we  must  look 
up  the  meaning  of  the  word,  find  in  what  period  of  history  such  a  dance  was 
used  and  the  character  of  the  people  who  danced  it.  The  minuet,  for  example, 
should  suggest  to  our  minds  courtiers  in  satin  clothing,  dancing  with  stately 
tread,  etc.  We  must  know  the  meaning  of  every  musical  term  used  by  the 
composer  during  the  composition.  For  example,  we  often  find  in  violin  com- 
positions the  words  "Sur  le  touche."  These  are  French  words  which  mean 
"over  the  finger  board."  In  other  words,  by  playing  with  the  bow  well 
forward  slightly  over  the  finger  board,  we  get  a  peculiarly  soft  and  flute-like 
tone.  Such  expressions  are  m3"riad  and  must  be  looked  up  before  we  com- 
mence to  really  study  a  composition. 

Now.  having  a  good  general  idea,  first  of  the  composer's  natural  bent,  and 
secondly  of-  the  specific  form  he  has  used  and  his  directions  as  to  playing, 
we  are  ready  to  evolve  an  interpretation  of  our  own.  I  find  that  all  arts  are 
governed  by  the  same  general  rules.  A  painter  will  tell  you  those  pictures 
which  are  best  have  certain  points,  seldom  exceeeding  three  in  number,  upon 
which  attention  is  concentrated.  Other  things  are  subordinated  to  these 
climaxes;  and  the  picture  which  has  too  many  main  points  or  climaxes  is 
fussy  and  distracting  to  the  eye.  This  is  an  important  point  for  interpreta- 
tion. Let  us  play  through  a  composition  and  see  what  points  seem  to  suggest 
themselves  naturally  as  climaxes.  An  amateur  violinist  is  too  apt  instead  of 
thinking  in  large  phrases  to  try  to  average  at  least  one  climax  to  each 
measure.  A  famous  rule  of  music  is  when  we  wish  to  make  a  crescendo  to 
commence  very  softly.  And  this  applies  to  climaxes.  One  of  Ysaye's  great 
ideas  is  to  play  certain  passages  absolutely  even,  without  tremulo  or  ex- 
pression, and  without  becoming  louder  or  softer.  After  such  a  phrase,  the 
climax  has  a  tremendous  efifect  upon  the  hearer. 

•  The  pupil  who  has  reached  an  interpretation  in  keeping  with  the  char- 
acter of  the  composer  and  the  title  of  the  piece,  who  has  thought  out  his 
climaxes  and  tone  shadings  intelligently  cannot  go  far  wrong  in  his  inter- 
pretation. Let  us  instead  of  playing  blindly  through  a  piece  many  times  and 
trusting  to  inspiration  for  the  interpretation,  do  a  little  thinking  and  reading; 
and   the  result   cannot  help   but  be  a   more  musicianly    interpretation. 


M4J.., 


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♦Ul 


A  Study  in  the  Seventh  Posi- 
tion— Ferdinand  David 

By   Mayer  Wetherill 

'"¥  '^  HIS    etude    and    many    similar 

I  ones  in  the  different  positions 
-*-  were  written.  l)y  David  to  see 
whether  the  pupil  after  practicing  the 
scales  in  its  many  forms,  and  in  thirds, 
octaves  and  so  on,  was  really  acquaint- 
ed with  the  positions,  or  was  only 
playing  them  parrot  fashion. 

This  etude  requires  no  interpretation 
from  me,  as  it  is  well  marked,  and  I 
advise  young  violinists  to  look  all  the 
Davidian  exercises  up.  Keep  down  as 
many  fingers  as  possible  so  as  to  hold 
the  position.  Notes  out  of  the  seventh 
position  must  be  stretched  for.  I 
would  like  to  say  just  here  that  David 
was  one  of  the  best,  if  not  the  very 
best,  teacher  of  his  day.  Whether  a 
pupil  is  talented  or  not,  thoughtful 
study  in  his  school  will  start  him  on 
the  high  road  to  virtuosity. 


Hcinrich  Hoevel 


Wieniawski*s  Kajawiak 

by  Heinrich  Hoevel 

Many  a  violinist  and  teacher  will  wrinkle  his  nose  at  the  selection 
"Kujawnak."  Is  a  piece  played  to  death  to  be  pulled  out  of  its  grave 
again? 

Of  the  modern  violinists  two  of  the  most  brilliant,  Wieniawski  and 
Sarasate  have  given  us  dances  of  their  countries  as  solo  violin  pieces. 
Both  have  expressed  their  national  spirit  to  a  noticeable  degree,  but  in 
treatment  they  are  entirely  different.  Sarasate,  the  elegant,  stands 
before  us  all  dressed  up  to  dance.  He  is  the  solo  dancer  ready  to  do 
any  "stunt"  for  us  even  to  the  tip-toe  act  of  the  Balleteuse.  Who  can 
ever  forget  the  elegance,  cleanness  and  gracefulness  with  which  he 
•played  these  dances,  never  marred  by  any  difficulties  which  might 
present  themselves. 

Wieniawski's  Kujawiak  in  its  nature  is  a  folk-dance  partly  real- 
istic, partly  idealised ;  a  Mazurka,  as  he  calls  it  himself,  with  all  the 
ear  marks  of  its  characteristics.  No  matter  how  beautiful  in  melody, 
how  rich  in  harmony  or  how  artful  in  construction  a  dance  might  be 
the  rhythm  is  its  element.  Without  it  or  even  deficient  in  it  all  art  can 
not  produce  the  animation  with  which  a  few  measures  of  good  rhythm 
will  inspire  us.     The  Mazurka  rhythm  is   }i  ■? 

and  the  end  measure  of  the  period  is^       #^  i  The  motives  gen- 

erally extend  over  the  second  beat  and  the  new  one  begins  on  the  3rd. 
Besides  the  rhythm  of  the  first  beat  there  is  a  decided  rhythm  on  the 
3rd  except  in  the  eighth  measure  when  it  occurs  on  the  second. 

In  form  and  use  of  tonality  Kujawiak  is  unusual.  Here  it  is  in 
full:  Introduction,  16  measures;  i.  P'^riod,  8  measures;  2.  Period,  8 
measures;  3.  Period,  8  measures.  All  except  the  introduction  is  then 
repeated  with  slight  variation. 

In  tonality  the  introduction  is  in  A  minor,  first  Period  in  C  major; 
second  Period  in  A  minor  ending  in  the  dominant  key ;  third  Period  in 
A  minor.  It  is  here  not  the  lack  of  knowledge  or  ability  which  has 
given  us  this  dance  pure  and  simple ;  the  inspired  musician  was  led 
by  his  fine  musical  instinct  to  give  us  a  picture  of  the  folk  dance  as 
it  originated  among  them  without  the  trinunings  of  art. 


32  ANALYSIS     AND     INTERPRETATION 

To  come  now  to  tlie  interpretation  proper,  not  much  need  to  be 
said.  The  first  four  measures  of  the  introduction  have  to  be  played 
with  g^od  rhythm  so  the  Mazurka  is  at  once  recognized.  This  is  the 
call  to  dance.  The  next  phrase  which  is  played  twice  on  the  piano 
and  twice  on  the  violin,  is  the  invitation  to  dance.  Then  the  grace 
note  E  flat  plunges  us  at  once  into  the  full  swing  of  the  Mazurka.  It 
is  difficult  to  resist  entering  into  the  spirit  of  i^  now.  Everything  is 
there — and  so  plain. 

With  the  first  period  ends  the  real  dance  part.  The  next  two 
Periods  are  full  of  little  episodes  which  the  dance  so  easily  offers, — the 
coquetry ;  the  show-off  gracefulness ;  the  hidden  love  affairs ;  these 
all  leave  great  opportunities  to  the  interpreter. 

As  I  have  said  before  the  dance  depends  on  its  rhythm.  It  is 
therefore  necessary  that  the  player  assure  himself  of  the  importance 
of  it,  especially  in  the  part  wdiich  I  designated  as  the  dance.  To  be 
successful  from  a  violinistic  standpoint  it  is  necessary  to  strike  a 
good  chord  and  to  be  able  to  play  bell-like  harmonics. 


Tonal  and  Breath  Effects  on  the  Violin 

by  Arturo  Tibaldi 

PERHAPS  the  greatest  and  most  beautiful  effect  obtainable  in  violin 
playing  is  the  ability  to  produce  a  certain  sustained  singing  tone  of  a 
quality  distinct  in  itself,  while  at  the  same  time  it  combines  all  the 
vitality  and  depth  of  personality  which  is  to  be  found  in  the  notes  of  a  natural 
human  voice.  To  acquire  this,  it  is  of  equal  importance  to  the  violinist — like- 
wise the  vocalist — that  he  should  learn  how  to  breathe.  As  a  singer  does  with 
his  lungs,  so  must  the  instrumentalist  do  with  his  bow  ;  and  this  fact  is  too  often 
overlooked  and  neglected  by  players.  Consequently  many  a  cantibile  phrase 
is  apt  to  suffer  considerably,  and  the  effect  produced  is  one  of  breathlessness 
and  exhaustion,  rather  than  that  of  tranquillity  and  repose. 

A  violinist  can  learn  much  and  gain  many  beautiful  ideas  by  listening 
attentively  to  the  methods  of  some  of  the  "bel  canto"  singers  whom  he  may 
chance  to  hear — these,  however,  are  far  too  scarce  nowadays !  But  I  quote 
for  an  example  a  charming  effect  frequently  made  use  of  by  the  late  August 
Wilhelmj — apart  from  whom  I  can  think  of  no  other  artist  of  the  present  day 
who  exactly  manages  to  reproduce  it  in  the  identical  manner  I  wish  to  de- 


TONAL     VIOLIN     EFFECTS  33 

scribe.  I  allude  to  "portamento"  in  the  tone.  He  would  apply  this  in  a 
simple  passage  which  otherwise  would  sound  colorless  and  perhaps  pass  un- 
noticed.    For  instance,  in  the  following  bar  of  Beethoven's  Romance  in  G: 

He  would  play  it  sliding  gently  and 
.^r->j^ft-^>      v^o->  very  slightly  up  to  the  last  A  in  the 

T  X-t"^  ^^-ZPXZT^  I  ^  bar  with  the  fourth  finger  and  with  no 

'  "vibrato"  at  all.     Although  this  is  in 

itself  a  seemingly  unimportant  detail, 
when  done  with  the  quiet  restraint  and  dignity  such  as  were  always  his  the 
tone  acquired  a  certain  "timbre"  of  sweetness  and  sadness  vaguely  suggesting 
a  faint  sigh  of  resignation.  And  this  efifect  can  be  applied  in  several  instances 
— although  in  moderation — with  excellent  results. 

Now,  those  who  have  had  the  good  fortune  to  hear  Mme.  Patti  may 
recall  her  singing  of  Mozart's  "Voi  che  sapete" — in  which  a  phrase  occurs  not 
unlike  the  one  just  mentioned.  She  made  use  of  exactly  that  same  effect  in 
identically  a  similar  fashion.  Those  who  have  not  heard  her  can  still  do  so 
on  the  gramophone  from  an  excellent  record  she  has  made  of  this  same  Aria, 
and  in  which  the  comparison  I  have  drawn  is  distinctly  noticeable.  Should 
the  violinist  have  some  knowledge  of  singing,  it  will  help  him  considerably. 
In  studying  an  adagio,  how  much  can  be  learned — not  only  by  playing  it,  but 
also  by  attempting  to  sing  it!  The  necessity  of  taking  the  breath  then 
becomes  apparent  and  essential;  thereby  it  can  also  be  understood  and 
realized  with  infinitely  greater  facility  how  important  the  proper  division  of 
the  phrases  becomes.  It  is  as  painful  to  listen  to  a  violinist  who  is  "out  of 
breath,"  as  it  is  to  a  singer;  by  this  is  meant  that  it  lends  distinct  charm 
to  a  player  should  he  occasionally  make  the  change  in  the  bowing  felt.  This 
considerably  relieves  a  certain  feeling  of  exhaustion  otherwise  felt  by  the 
listener,  and  is  sufficient  substitute  for  breathing  were  the  composition  sung 
instead  of  played.  Care  should  be  taken,  however,  not  to  exaggerate  this,  lest 
the  continuity  of  the  music  becomes  affected,  and  it  sounds  spasmodic. 

Finally,  I  might  mention  that  the  difficulties  of  octave  playing  can  be 
largely  overcome  by  using  little  pressure  with  the  fingers  on  the  strings.  In 
doing  this  the  left  hand  is  allowed  greater  liberty,  and  intonation  is  invariably 
surer.  In  every  case  it  is  as  well  to  remember  that  "effects,"  so  far  as  they 
go,  must  seem  to  come  by  themselves,  and  not  give  the  impression  of  being 
studied  or  produced  with  effort;  directly  a  listener  is  made  to  feel  conscious 
of  labor  on  the  part  of  the  performer,  or  becomes  aware  of  the  striving  to 
create  effect — then  the  artist  will  immediately  lose  all  magnetism,  and  his 
playing  will  sound  stilted  and  uninspired,  besides  being  entirely  lacking  in 
personality. 


Herbert  Butler 


Tartinrs  G  Minor  Sonata 

By  Herbert  Butler 

TJic  Dcinis  TriU  Sonata  is  pcrliaps  the  most  faiiioits  zcork  of  Tartini,  but  so 
(liflicult  that  it  can  only  be  played  by  the  finished  artist.  This  G  minor  Sonata  is 
the  most  popular  zvork  Tartini  zcrotc  and  I  select  it  for  analysis  because  technic- 
ally it  is  zi'ithin  the  grasp  of  zioHnists  of  a-c'crage  ability.  The  Peters  Edition  is 
referred  to  in  the  folhzeini:;  parai:^raphs: 

The  First  Movement 

The  opening-  phrase  must  be  announced  forte,  (but  mark  well  that  a 
Tartini  or  Corclli  forte  does  not  imply  the  powerful  Vieuxtemps  forte)  a  full 
singing  tone  using  all  of  the  bow. 

Let  there  be  a  touch  of  vibrato  on  the  second  note  of  the  opening-  phrase, 
and  grade  the  vibrato  otherwise  as  it  does  much  to  help  the  effects  in  tone 
color.  Great  care  should  be  taken  in  regard  to  the  use  of  the  vibrato.  It  is 
one  of  the  most  abused  and  at  the  same  time  one  of  the  most  beautiful  effects 
in  violin  playing.  To  keep  up  a  continual  trembling-  of  the  tone  from  the  be- 
ginning to  the  end  of  a  ]:)iece  is  poor  taste.  This  is  a  fault  of  which  the  ma- 
jority of  \iolinists  of  the  present  day  are  guilty.  Use  the  vibrato  with 
discretion  in  melodic  phrases,  but  seldem  or  never  in  technical  phrases  ;  and 
above  all,  let  scale  passages  be  entirely  free  from  any  fluctuation  of  the  tone 
as  it  merely  serves  to  blur  the  clearness  and  intonation  of  the  passage,  and  at 
the  saiue  time  impedes  the  ease  of  execution. 

in  the  tirst  movement  the  eighths  are  to  be  counted,  but  it  must  not  drag. 
Great  care  should  be  taken  that,  in  the  last  half  of  the  second  measure,  three 
to  a  count,  and  two  to  a  count  be  evenly  played.     See  the  illustration. 


1  have  already  stated  that  the  first  ])hrase  nuisi  be  announced  forte,  using 
the  full  bow.  The  answering  phrase  in  the  third  measure  is  to  be  played 
pianissimo,  using  as  much  bow,  and  in  the  same  character  of  the  first  phrase. 

From  the  fifth  to  the  seventh  measures  two  new  phrases  appear;  the  sec- 
ond a  third  lower  than  the  fir.'^r.  and  on  difl'erent  strings,  which  gives  a  suffi- 
cient contrast. 


36  ANALYSIS     AND     INTERPRETATION 

In  the  seventh  measure  we  have  the  melodic  line  ascending  and  descend- 
ing, finishing  at  the  tenth  measure.  Begin  piano  and  let  the  tone  increase  to 
forte,  and  diminish  to  piano. 

In  the  tenth  measure  we  have  the  introductory  phrase  in  another  key 
(piano  dolce),  and  in  the  following  measure  the  answering  phrase  in  the  key 
of  F  (mezzo  forte). 


Here  we  find  a  rhythmic  phrase,  a  nice  contrast  to  the  singing  character 
of  the  movement.  Let  these  measures  be  played  a  trifle  faster ;  it  is  a  pretty  lit- 
tle spirit  of  gaiety,  but  must  return  immediately  to  the  original  tempo.  Ob- 
serve the  marks  point  and  frog,  using  the  full  bow  ;  and  great  care  should  be 
taken  that  the  tone  is  of  equal  power  at  the  point  and  frog. 

In  the  nineteenth  and  twentieth  measures  are  two  phrases  exactly  alike. 
Play  the  first  forte  on  the  A  string  with  vibrato,  and  the  answering  phrase 
pianissimo  on  the  D  string  without  vibrato,  using  the  full  stroke  of  the  bow 
for  both. 

In  the  twenty-fourth  measure  use  the  full  bow  for  each  triplet.  The  sec- 
ond triplet  marked  staccato,  should  be  marked  with  a  dash  under  the  note  in- 
stead of  a  dot.  This  stroke  is  difficult  to  execute.  The  bow  does  not  leave  the 
string  ;  it  must  skip,  and  must  be  played  with  as  supple  a  wrist  as  possible. 

And  now  in  regard  to  the  trills.  A  trill  in  an  Allegro  is  not  the  same  as 
a  trill  in  an  Andante  or  Adagio.  An  impetuous  Paganini  trill,  for  instance, 
would  be  entirely  out  of  the  character  of  this  movement.  The  last  note  of  all 
turns  closing  a  trill  should  be  omitted.  Trills  finishing  a  phrase,  as  in  the  ninth 
measure,  should  be  played  like  the  Bach  trills:  i.  e.,  the  first  half  of  the  note 
is  trilled,  and  the  second  half  is  not.  For  instance,  the  trill  comes  on  the  sev- 
enth and  eighth  counts  of  the  measure.  The  trill  is  played  on  the  seventh 
count,  but  not  on  the  eighth.  The  trills  in  the  present  editions  are  written  in 
the  following  manner: 


? 


gf^ 


TARTINI     G     MINOR     SONATA  2,7 

Omit  the   last   note  of   the   turn,   rr.id    w  c   lia\c-   the  trill   as   it  should   he 
played. 


The  one  exception  to  this  is  the  fourth  measure  where  the  melodic  note 
ascends.  I  find  in  the  old  editions  of  the  classical  composers,  if  they  wanted 
a  turn  to  a  trill,  they  wrote  it  out.  See  the  first  measure  of  the  seventh  line. 
Here  Tartini  has  written  the  turn. 

It  is  advisable  to  omit  the  repetition  of  the  first  movcnicnt,  as  the  com- 
plete movement  with  the  repetition  is  too  long. 
Second  Movement,  "Presto  non  troppo" 

The  first  question  is,  What  is  the  character  of  this  movement?  Anger. 
Tartini  got  furious.  Keep  a  supple  wrist,  bow  on  strings.  Give  a  very  strong 
accent  on  the  mordente  in  the  second,  third  and  fourth  measures.  There  are 
very  few  moments  Avhen  the  fury  quiets  down,  and  these  are  clearly  marked.- 
Practice  first  with  broad  bow,  slowly  and  piano  all  through,  a  monotone,  to 
place  the  fingers.  Later  begin  to  place  the  forte  and  mezzo-forte  marks  with 
necessary  accents.  This  movement  is  by  no  means  easy  to  play. 
Third  Movement,  "Largo" 

The  common  mistake  of  most  violinists  is  to  carry  over  the  agitato  of  the 
Presto,  to  the  Largo.  The  player  should  calm  the  listener.  It  is  advisable  to 
play  the  first  two  movemnts  without  interruption,  then  pause,  tune  your 
violin,  and  finish  the  Largo  and  the  last  movement. 

A  word  about  the  first  chord  of  the  Largo.  Do  not  play  it  with  a  jerk. 
Be  sure  to  place  the  bow  on  the  two  lower  notes.  Let  the  G  and  D  sound 
together,  the  B  and  G  follow.  By  placing  the  bow  in  this  manner  the  player 
does  not  have  so  far  to  turn  the  bow,  and  it  avoids  the  disagreeable  jerk  that 
comes  from  starting  with  only  the  first  note  of  the  chord.  First  practice  the 
chord  slowly,  with  relaxed  wrist,  full  bow,  and  very  softly;  then  increase  the 
volume  with  a  faster  sweep  of  the  bow,  and  you  will  obtain  a  beautiful,  sing- 
ing, fortissimo  chord,  with  as  loose  a  wrist  as  you  use  for  piano. 

Ai  the  fifth  and  twenty-second  measures  appear  corresponding  phrases. 
Play  the  first  expressive  and  piano,  th.e  second  forte  and  intense. 
Fourth  Movement 

The  character  of  this  movement  can  only  be  described  by  the  word  '"non- 
chalant," with  a  great  deal  of  finesse.  At  the  seventh  and  eighth  measures 
the  bow  leaves  the  strings ;  but  do  not  use  a  sharp  staccato :  and  mark  here  the 
two  notes  shirred  and  no  dots  over  them. 

Both  parts  of  this  movement  can  be  repeated. 


Frederick  Grover 


En  Bateau — Claude  Achille   Debussy 

by  Frederick  Grover 

Originally  this  little  gem  was  "formed"  for  orchestra,  and  is  part  of  a 
suite.  Its  formation  was  found  to  be  so  perfect,  its  coloring  so  full  of  dia- 
mond-like beauty,  that  a  French  violinist  recut  the  gem  and  arranged  it  for 
\  iolin  with  piano  accompaniment.  Its  lyric  beauty  and  general  harmonic 
construction  place  it  in  a  class  by  itself. 

En  Bateau  is  a  French  work,  by  a  French  composer,  and  let  me  add  a 
French  revolutionist  in  music.  From  his  first  song,  which  appeared  in  1880, 
up  to  the  present  time,  this  man  and  his  music  have  seemed  an  enigma. 
Though  born  in  1862  and  surrounded  in  the  Conservatory  of  Paris  by  ardent 
disciples  of  modern  music,  yet  today  his  musical  utterances  are  scarcely 
understood. 

En  Bateau  freely  translated  would  mean  "in  the  little  boat,"  "a  boat 
song."  a  "Barcarolle";  and  yet  it  is  not  the  small  surf  boat,  nor  does  the 
sea"  form  the  water  setting.  The  scene  seems  to  be  in  miniature  form,  in 
small  cameo-like  construction.  "A  little  Swiss  lake,"  you  suggest.  Perhaps 
as  we  proceed  we  find  something  even  more  beautiful  than  a  little  Swiss  lake 
and  its  lovers  and  boats. 

The  piece  starts  in  6/8  time,  in  the  Key  of  G  major,  but  has  an  underly- 
ing relative  minor  interrupting  constantly,  and  the  opening  theme  for  violin, 
when  played  in  the  way  that  seems  to  place  our  interpretation  at  once  in  the 
real  atmosphere,  is  not  played  on  the  E  string,  for  that  would  be  too  harsh. 
The  softness  of  the  A  string  is  better  for  the  delicacy  of  this  theme.  If  the 
violinist  will  take  this  movement  on  the  A  string,  when  high  G  is  wanted 
the  fourth  finger  can  be  extended  on  the  E  string,  and  will  be  reached  easily 
and  without  any  slide,  or  bad  eft'ect  upon  the  scenery. 


The  exact  rh}thm  of  the  rippling  water  is  supplied  by  the  piano  accom- 
paniment. 


40  ANALYSIS     AND     INTERPRETATION 

I  suggest  fingering  for  the  following  passage: 


-    >^± 


Be  sure  of  the  gradual  ritard  at  the  end  of  this  movement,  marked  "Un 
pen   retenu." 

There  are  two  bars  for  the  piano  alone  in  imitation  of  the  rippling  water, 
then  the  violin  takes  up  the  rippling  movement  in  this  fashion: 


gradually  diminishing  an  octave  higher,  slightly  retarding  as  it  goes  upward 
to  the  same  theme  in  the  Key  of  G  major,  with  which  the  piece  begins.  The 
piano  this  time  uses  a  dififerent  figure  than  at  first,  with  the  following  as  its 
style,  making  a  beautiful  effect : 


ts^ 


£ 


P 


T=^ 


'M3::tv-^.': 


lU 


^ 


wm 


^ 


y^ 


^^^ 


— ^^- -^^ rr~ 

In  En  Bateau  the  bowing  is  important;  there  are  two  principal  points — 
the  many-tinted  shaded  tones  and  the  sustained  bowing.  You  must  paint 
your  picture  with  a  brush — the  bow  is  your  brush,  but  fortunately  the  de- 
mands are  more  simple  than  complex  as  far  as  the  bowing  is  concerned,  and 
ought  to  give  no  trouble  whatever.  For  preparatory  practice  I  would  sug- 
gest the  simple  drawing  of  the  bow  slowly,  a  la  Viotti,  viz :  for  its  full  length 
above  the  strings,  but  not  touching  them ;  then  on  the  open  strings  slowly 
without  fingering;  then  playing  through  the  entire  piece  on  the  open  strings, 
imagining  the  fingering. 

The  rippling  motion  for  the  violin  with  the  original  theme  played  this 
time  by  the  piano  follows,  and  this  leads  to  a  beautiful  passage  in  thirds  for 
the  piano,  making  a  little  duet  for  violin  and  piano  intertwining  and  uniting 
in  the  followins:: 


SPRING     SONG 


41 


6ter— 

-    i^ 

Wf  jt 

^=?^— 

-1 — \ — 1 1">   1    : r— ( 

H-^T^^J     : 

1 1^1           II '. 

==—==: 

~^r ■ 

: , — 1 

^■^ — ij-  ^ — 

[V— jlv_ 



J-si^ =^=f 

*E 


1  I     i^tl    V 


Spring  Song — Mendelssohn 

by  E.  Bruce  Knowlton 

The  general  principles  applied  to  the  spoken  language  can  be  applied  to  the 
tone  language — music.  The  spoken  language  is  divided  u])  into  sentences,  each 
beginning  with  a  capital  and  ending  with  a  period.  Music  is  divided  into  sentences 
called  phrases,  designated  on  the  printed  page  with  a  curved  line.  Some 
sentences  are  long,  others  short  and  have  but  one  or  two  words.  Some  phrases 
have  many  notes,  covering  several  measures ;  others  have  but  one  or  two 
notes.  Every  sentence  has  a  subject,  or  a  principal  word,  which  we  accent;  some 
have  several  important  and.  therefore,  emphasized  v.-ords.  Every  phrase  has  its 
climax,  its  important  note  or  notes,  which  are  to  be  performed  louder  than  the 
others.  Playing  without  these  numerous  climaxes  of  every  size  of  force  is  as 
flat,  unintelligible  and  inartistic  as  to  talk  in  ])erfect  monotone,  without  letting 
your  voice  rise  or  fall,  throughout  an  entire  sentence.  The  very  sense  of  the 
subject  indicates  what  word  is  most  important  and  most  emphasized. 

Print  is  laid  in  lines.  The  sentences  may  begin  and  end  with  a  line,  but  if  it 
so  happens  it  is  a  mere  accident.     .\  sentence  has  no  connection  whatever  with  a 


42  ANALYSIS     AND     INTERPRETATION 

line,  but  begins  and  ends  wherever  it  will,  and  the  emphasis  of  a  word  has  no 
connection  with  its  place  in  a  line.  That  is  determined  entirely  by  its  place  in  the 
sentence.  Exactly  the  same  in  mnsic.  A  measure  in  musical  notation  is  like 
a  line  in  print,  a  mere  convenience  in  writing,  nothing"  more.  It  guides 
the  eye,  but  the  ear  never  hears  a  measure  bar.  You  do  not  accent  a  note 
because  it  occupies  a  certain  place  in  the  measure,  but  because  it  stands  for  the 
climax  in  the  phrase.  The  phrase  governs  accent,  not  the  measure.  That  is  the 
most  important  lesson  I  can  give  you.  Take  every  bar  out  of  the  Ninth  Sym- 
phony, and  will  it  not  sound  exactly  the  same?  It  would  l)e  difficult  to  play,  sing 
and  conduct,  but  the  hearer  would  never  miss  them.  The  only  thing  1  have 
against  mau}^  so-called  amateur  teachers  (we  are  all  amateurs,  though)  is  that 
they  insist  upon  telling  their  pupils  that  the  first  note  in  )/l  time  and  the  first  and 
third  in  4-4  time  must  be  accented. 

Mendelssohn's  Spring  Song  melody  has  been  selected,  not  because  it  pic- 
tures the  gentle  zephyrs,  showers,  green  grass  and  foliage,  bursting  buds  and 
flowers  of  spring  time — that  is  impossible;  it  is  a  mere  artistic  delicacy.  It 
speaks  to  the  gentler  emotion,  it  forbids  a  thought  of  coarseness  and  com- 
monplace and  speaks  to  the  aesthetic  in  the  extreme. 

As  a  general  rule,  which  of  course  has  its  exceptions,  the  last  note  of 
every  phrase  should  be  played  softer,  and  shorter  than  indicated.  An  eighth 
would  become  perhaps  a  sixteenth,  followed  by  a  sixteenth  rest.  It  is  done 
thus  to  tell  the  ear  that  here  the  sentence  or  phrase  closes — as  in  reading  the 
voice  falls  at  a  period,  the  end  of  a  sentence.  The  hearer  then  realizes  when 
the  new  phrase  is  to  enter.  There  is  something  he  can  grasp  and  tie  to.  The 
continuous,  increasing  flow  of  melody  without  phrases  marked  and  clearly 
defined  tires  the  listener  like  the  constant  rattle  of  a  machine.  The  phrase 
therefore  closes  softly,  the  next  opens  clearly  with  new  dynamic  force.  See 
illustration.  You  must  use  musical  judgment.  Not  all  accented  notes  have 
the  same  amount  of  accent.  These  little  phrases  with  their  little  climaxes 
are  only  a  part  of  a  great  central  climax,  like  the  foothills  are  a  part  of  the 
great  high  peak  of  a  mountain  range.  An  ascending  phrase  should  crescendo 
an.d  accelerando  (as  a  rule)  ;  a  descending  phrase  may  come  down  more  leis- 
urely, diminishing  all  the  way  dowm.  Grandiose  passages  generally  proceed 
slowly  to  give  them  dignity,  regardless  of  wliat  comes  before  or  after.  One 
finds  so  many  exceptions  to  every  rule  in  music.  Every  rule  can  be  proved 
and  disproved,  yet  the  foregoing  are  principals  which  can  be  used  to  advan- 
tage if  applied  intelligently.  If  a  phrase  consists  of  a  short  note,  then  a  long 
one,  the  longer  is,  of  course,  more  important,  prominent,  and  has  the  accent, 
even  if  it  appears  at  the  end  of  the  phrase  which  is  usually  shortened  and 
softened. 


MENDELSSOHN'S     SPRING     SONG 


43 


rt7f?,^^rr7,  ,   r.j  ^ 


fiilj 


So  many  violinists  have  a  most  inexcusable  and  disagreeable  habit  of 
giving  the  bovv  a  sudden  jerk  at  the  end  of  the  phrase,  where  they  expect  to 
reverse  its  motion,  where  there  should  be  a  soft,  short  restful  note. 

Finally,  make  more  color.  Color  is  made  largely  by  soft  and  loud  play- 
ing. We  are  not  considering  the  quality  of  violin  used  and  manner  of  bow- 
ing. Play  loud  passages  or  notes  louder — soft  passages  softer.  Make  a 
crescendo  gradual,  not  suddenly  loud;  diminuendo  gradually  softer.  Retards 
and  accelleraiido  should  be  gradual,  not  too  suddenly. 

Remember  the  violin  is  under  your  chin — very  near  your  ear — which  is 
not  true  of  the  audience;  they  are  far  away.  They  do  not  hear  the  slight 
variations  in  tone  as  you  do.  You  are  painting  a  picture  to  be  viewed  from 
a  distance,  therefore  must  paint  in  high  colors  to  give  it  the  desired  effect 
from  a  distance.  Every  writer  feels  his  helplessness  in  attempting  to  direct 
interpretation  with  a  pen.  But  if  the  foregoing  suggestions  on  phrasing  are 
worked  out  intelligently,  we  feel  they  will  be  productive  of  some  good. 


Ruthyn    Turney 


Gavotte — Franz  Joseph  Gossec 

By  Ruthyn  Turney 

Knowledge  is  born  of  experience — tlie  greater  the  experience  the  larger 
must  be  the  store  of  knowledge.  This  is  true  of  all  things  which  make  de- 
mands upon  the  mind,  but  in  no  particular  phase  of  life's  study  is  it  so  true 
as  when  applied  to  Music — "The  Divine  Art."  To  be  a  prima  vista  performer 
on  any  instrument  it  requires,  above  all  else,  a  very  active  brain — a  mathe- 
matical brain.  But  the  manner  in  which  you  perform  a  given  composition  is 
«ilely  the  result  of  experience.  Your  "experience"  may  be  assisted  by  "intui- 
tion," and  in  such  event  you  give  or  take  from  a  compositon  largely  according 
to  your  emotions.  If  one  possesses  a  great  love  of  Nature,  of  art,  and  a  true 
sense  of  the  beauty  of  all  things,  it  will  assist  him  in  the  conception  of  a 
compositon  which  demands  from  him  artistic  interpretation. 

Experience,  intuition  and  sentiment  all  enter  into  the  matter  of  interpre- 
tation. But  more  than  this  is  necessar}^  and  often  it  is  found  almost  impos- 
sible of  attainment.  One  of  the  most  essential  things,  from  our  point  of  view, 
in  the  interpretation  of  a  new  musical  compositon,  or  one  we  are  unfamiliar 
with,  is  the  history,  the  "life  story,"  of  the  person  who  created  the  compo- 
sition— a  knowledge  of  the  characteristics  of  the  man. 

Possessed  of  this  knowledge  you  are  further  assisted  in  your  interpre- 
tation of  his  music  should  you  be  able  to  ascertain  the  circutnstances  under 
which  the  work  was  written.  Was  the  composer  in  distress  of  any  kind? 
Was  he  alone  and  friendless  in  the  world  with  starvation  threatening  him? 
Or  was  he  one  of  Fortune's  favored  sons,  with  every  whim  gratified?  Was 
he  jovial  by  nature,  or  the  reverse?  Was  he  an  optimist  or  a  pessimist?  All 
of  these  questions  that  once  settled  in  your  mind  will  assist  in  enlighten- 
ing you  regarding  the  comiposer  whose  work  you  would  read.  As  the  man 
was,  so  must  'his  music  be — at  least,  largely  so.  The  various  phases  of  a 
man's  being  pervade  his  ^^•ork,  in  the  very  nature  of  things.  Once  ha\ing 
settled  the  above  questions,  proceed  to  play  the  set  compositon  as  you  fancy 
the  composer  himself  Avould  have  played  it,  or  as  nearly  so  as  you  can.  Try 
to  make  yourself  "feel"  that  you  are  "the  man'"  wlio  wrote  the  work.  Be 
him;  let  his  mood  be  yours. 

But,  as  often  happens,  you  know  nothing  of  the  man  whose  work  you  try 
to  interpret.  Here  is  where  "experience"  counts,  "^'ou  must  be  influenced 
in  your  rendition  largely  by  the  character  of  the  work  as  you  find  it ;  and 
}'our  feeling,  your  intuition,  your  imagination,  are  all  called  into  play.  But 
through,  and  abo\c  all,  remain  sane  in  your  interpretation;  do  not  allow  your 
fanc}'  such  latitude  that  a  burlesque  results,  and  you  drag  the  compositon 
down  to  the  realm  of  triviality.     In  whatever  you  do  in  a  musical  way — be 


46  ANALYSIS     AND     INTERPRETATION 

serious,  revere  your  art.  If  you  cannot  do  this  it  were  better  for  you  to  move 
aside  and  give  place  to  somebody  who  can. 

There  is  another  point  whicli  is  of  the  greatest  importance  in  the  matter 
of  interpretation.  We  refer  to  "dynamics" — "expression  marks."  These 
marks  were  used  by  the  composer  for  the  express  purpose  of  assisting  in  the 
interpretation  of  his  work.  If  the  particiilar  Ojnis  in  (|uestion  has  passed 
through  many  editions,  you  are  moderately  certain  that  they  have  been  edited 
or  "revised"  by  authority  at  least  supposedly  high.  At  any  rate,  while  you 
are  struggling  for  a  good  interpretation  of  a  given  piece  it  is  the  part  of 
wisdom  to  give  the  utmost  attention  to  these  markings.  When  you  have 
reached  a  point  where  they  are  of  no  value  to  you,  the  position  you  will  oc- 
cupy in  the  musical  world  will  be  so  high  that  the  writer  of  this  article  will 
have  no  suggestion  to  offer  you. 

We  now  proceed  with  a  brief  analysis  of  a  little  composition  in  Gavotte 
form  by  Frz.  Jos.  Ciossec  (1734-1829).  It  is  our  belief  that  this  little  piece 
\vas  introduced  in  the  United  States  a  year  or  two  ago  by  Mischa  Elman,  the 
wonderful  young  Russian  violinist.  As  a  composition  it  is  what  one  might 
term  a  "miniature."  But  properly  performed,  it  is  a  ■ca])ital  little  "conceit," 
and  well  worthy  a  place  in  a  group  of  light  numbers,  or  served  the  public  as 
an  encore  after  some  more  pretentious  and  heavier  composition.  This  dainty 
little  Gavotte  may  be  called  "Frenchy" — it  is  light  in  character  and  yet  has  a 
piquancy,  a  half-seriousness,  that  commands  attention,  and  it  is  at  no  place 
undignified.  The  "mood"  of  it  seems  to  savor  a  little  of  a  musical  "Fairy 
Tale."  It  is  the  personification  of  a  musical  "romp"  with  care  ever  exercised 
that  no  one's  sensiblities  shall  be  oft'ended  or  outraged.  Such  is  the  compo- 
sition as  we  see  it. 

Now  for  the  manner  of  performing.  Do  not  try  to  plav  it  in  a  "clock 
work"  tempo — this  will  never  do.  Take  the  first  measure  (see  example  No. 
i)  lightly  with  the  middle  of  the  bow.  Use  little  more  than  the  weight  of  the 
bow.  Play  very  pianissimo  first  stroke,  and  spiccato.  Gradually  accelerate 
as  to  tempo,  and  as  each  note  of  the  first  measure  succeeds  the  other  increase 
the  volume  of  tone  and  crispness.  So  much  for  the  first  measure,- as  per  fol- 
lowintr  examnle: 


A\  hen  the  second  measure  is  reached  it  will  ])e  foimd  that  it  should  be 
given  a  rather  forte  attack.  Make  just  enough  ritard  on  this  measure  to 
bring  you  back  to  a  ])oint  where  you  can  artistically  begin  on  the  third  meas- 
ure in   i)reciselv  the   same   manner  vou   did  the   first   measure.     The   general 


GOSSEC    GAVOTTE  47 

effect  of  measures  one  and  two  is  rubato.  In  tlu'  inli-rprt-lation  of  this  ( iaxotte 
bear  in  mind  lliat  "Rubato"  is  tin-  "key"  to  the  rendition  of  the  composition. 
Continue  in  the  manner  incHcated,  tlirough  the  first  strain  of  eight  measures; 
i.  e.,  pairing-  the  measures  i  and  2.  3  and  4,  5  and  6,  7  and  8.  Treat  tlie  second 
strain  of  eight  measures  in  preciseh-  the  same  manner  in  which  \ou  did  ihc 
first  eight-measure  strain,  or  theme. 

We  will  now  consider  the  third  ihenic,  beginning  w  ilh  the  seventh  mea.>^- 
ure.  Use  a  full  bow\  rather  heavy,  and  try  to  get  an  even,  broad,  maestoso 
effect — a  somewhat  "clinging"  style  of  bowing.  Take  measure  17  at  a  less 
degree  of  tempo  than  the  preceding  measures.  I'la}'  slowly  and  broadlv. 
Make  an  accelerando  in  measure  18.  ddie  eff'ect  of  the  two  measures,  17  and  18, 
is  thus  illustrated : 


Vf^^.i- 


-wu-w.^  "V.-vO-*^ 


The  dift'erence  in  the  second  measure  of  the  above  example  and  the 
original  edition  will  be  obvious — try  this  effect  and  then  pass  your  verdict. 
Perform  measures  19  and  20  in  the  same  styles  as  measures  17  and  18,  but 
continue  the  tempo  of  measure  20  until  the  latter  half  of  measure  22,  when  a 
ritard  begins  and  continues  through  measures  23  and  24,  as  follows  : 


Of''^^ 


fi/r*^ 


It  will  be  noticed  that  instead  of  giving  a  staccato  eff'ect  in  measure  25, 
as  in  the  original  copy,  we  give  just  the  reverse  reading.  Try  this  idea  and  see 
if  it  does  not  please  you.  In  making  your  ritard,  as  per  above  example,  do  not 
make  it  too  suddenly.  Make  it  almost  imperceptible  at  the  lieginning,  and 
gradually  increase  it. 

Begin  the  next  theme  (measure  25)  at  a  lively  temi>o — light  and  airy — 
faster  than  any  previous  theme  or  motif.  Continue  in  this  style  until  measure 
31,  when  a  slight  ritard  is  advisable,  as  ]ier  following: 


i^^^-^ 


'?.t 


Measure  33  introduces  the  same  theme  which  oi)ene(l  the  (ia\otie. 


Winfred  R.  Colton 


Chant    Sans    Paroles,  Op.   2,    No.   3.   P.  Tschaikowsky 

by  Winfred  R.  Colton 

As  a  beautiful  example  of  the  works  of  the  Russian  comi)oser, 
Tschaikowsky,  his  Chant  sans  I'aroles  serves  an  admirable  purpose. 
The  melody  is  clear,  well  defined  and  of  a  beautiful  singing  character. 
It  is  also  well  adapted  to  the  peculiar  idioms  of  the  violin.  It  is  a  work 
containing  well  contrasted  themes  and  it  invites  good  tonal  coloring. 
The  accompaniment  is  interesting  and  well  suited  to  the  melody.  As  a 
solo  it  is  one  of  the  kind  that  wears  well  and  improves  with  hearing; 
and  it  is  a  grateful  number  to  play  to  an  audience. 

For  use  in  illustrating  I  have  chosen  the  Phillip  Mittell  arrange- 
ment. As  indicated,  the  melody  is  to  be  played  in  a  graceful  and 
singing  style  and  the  tempo  is  allegretto.  A  little  emphasis  is  to  be 
given  the  notes  of  the  melody,  thus  imparting  a  good  rhythm  to  the 
movement.  The  melody  should  begin  with  long  smooth  strokes  of  the 
whole  bow,  and  without  pressure.  A  clean-cut  effect  can  be  given  to 
the  group  of  four  sixteenth  notes,  together  with  the  preceding  grace 
note,  by  lifting  tlie  bow  from  the  strings,  at  the  frog,  just  before  attack- 
ing them,  and  the  same  effect  can  be  produced  in  the  following  meas- 
ure by  lifting  the  bow  a  little  at  the  point  and  striking  the  string  as  the 
up  bow  is  begun  : 

t¥.0 


bf-,     -i     1    ^^'p  I     ^     ^    ^^.Tj^g 


in  the  third  measure  the  notes  may  be  given  more  cliaracter  and 
rhythm  by  lifting  the  bow  from  the  strings  and  playing  each  note  with 
a  very  broad  spiccato  near  the  frog. 


%    "?v. 


The  next  group  of  sixteenth  notes,  and  the  eighth  notes  immedi- 
ately following,  come  near  the  point  of  the  bow  and  should  be  played 
in  a  clear,  clean-cut  manner,  the  eighth  notes  rather  shortly  detached, 
as  indicated  bv  the  dot  staccato. 


In  the  sixth  measure  a  little  crescendo  begins,  and  a  slight  glis- 
sando  to  A  is  effective  and  gives  a  vocal  character  to  the  phrase.    The 


51) 


ANALYSIS     AND     INTERPRETATION 


glissando  can  be  made  either  with  the  second  finger,  as  indicated  in  the 
printed  copy,  or  with  the  fourth  finger.  I  prefer  the  latter,  and  would 
then  go  to  the  first  position  for  D,  at  the  end  of  the  measure. 


The  first  musical  sentence  of  eight  bars  is  completed  in  the  next 
measure,  and  here  a  ritard  may  be  made.  The  last  three  eighth  notes 
of  this  measure  introduce  the  next  sentence,  which  is  a  repetition  of  the 
first,  and  with  it  the  first  tempo  should  be  resumed.  In  the  first  phrase 
following  this  sentence  I  would  recommend  the  fingering  as  indicated 
in  the  illustration  and  would  again  lift  the  bow  at  the  frog  in  beginning 
the  sixteenth  notes,  and  then  play  the  eighth  notes  staccato  at  the 
point  of  the  bow. 


The  fingering  for  the  next  measure  is  also  indicated: 


In  the  following  eight  measures  I  would  detach  all  the  cjuarter  and 
eighth  notes,  except  the  last  three  eighth  notes,  which  lead  again  into 
the  melody  of  the  first  sentence;  these  may  be  played  as  slurred  stac- 
cato notes  on  the  up  bow.  In  these  eight  measures  the  preceding  ob- 
servations in  regard  to  lifting  the  bow  at  the  frog  and  point  before  at- 
tacking the  sixteenth  notes,  are  to  be  applied. 

At  the  end  of  this  sentence  I  would  suggest  the  fingering  in  the 
illustration  as  the  best  mode  of  expression,  and  here  again  a  slight 
ritard  may  be  made : 


CHANT     SANS     PAROLES— TSCHAIKOWSKY 


51 


Next  comes  a  phrase  well  contrasted  with  what  has  come  before, 
and  it  should  be  snn^"  sonorously  and  very  broadly  upon  the  G 
strins:: 


T^ 


"'■^  jr 


This  is  repeated  in  the  accompaniment,  and  then  the  violin  begins 
softly  again,  with  long  swift  strokes  of  the  bow,  which  bring  the  six- 
teenth notes,  coming  at  the  end  of  the  next  three  measures,  directly 
at  the  frog,  where  they  are  played  with  short,  crisp  strokes,  with  a 
loose  wrist : 


The  crescendo  works  up  to  fortissimo  and  here  each  eighth  note  is 
vigorously  accented.  Observe  the  dirninuendo  which  occurs  in  the 
next  measure.  The  phrase  which  has  just  been  played  upon  the  G 
string  is  now  repeated  on  the  A  string  in  a  like  manner,  with  broad, 
bold  strokes  of  the  bow  and  it  is  answered  with  the  same  phrase  that 
follows  the  passage  on  the  G  string  and  which  has  just  been  explained. 
The  last  eight  measures  present  no  difficulties  as  to  fingering  and  are 
played  softly,  always  using  the  whole  bow  in  light  strokes  which  best 
produces  a  full  round  tone.     For  pianissimo  play  o\er  the  fingerboard. 


Guy  Woodard 


Bach's  First  Sonata  for  Violin  Alone 

By  Guy  Woodard 

AS  THE  works  of  Homer  are  the  most  beautiful  monument  of  a  certain 
age,   so   may  it  be   said   that  the  work  of   Bach  represents   a   whole 
musical  period. 
In  analyzing  the  works  of  Bach  we  are  amazed  to  meet  such  perfection 
from  every  poit  of  view.    The  grandeur  and  majesty  of  style,  the  unheard-of 
varieties  of  rhythm,  and  the  strength  of  his  melodic  invention  are  a  source  of 
wonder  to  all  musicians. 

In  the  Mass  (B  minor),  the  Passion  music,  and  in  his  Oratorios  are  found 
the  strongest  characteristics  of  Bach's  genius,  viz.,  "religious  sentiment,"  of 
which  it  is  impossible  to  conceive  a  more  profound  or  intense  expression. 

Sonata  No.  i.     Violin  Alone 

(For  the  following  remarks  the  "Peters  Edition''  (Hellmesberger)  is 
necessary.) 

In  regard  to  the  sonata  it  is  well  to  draw  the  pupil's  attention  to  two 
"categories"  of  double-notes  on  the  violin. 

Category  I.  Any  passage  in  which  both  notes  have  the  same  melodic 
value  requires  an  equal  pressure  of  the  bow  on  both  strings. 

Example  in  6th  concerto  by  Mozart. 


^ 


^ 


^ 


E 


-^^-^^ 


±fc 


Category  II.     This  consists  of  double  notes  requiring  more  pressure  of 
the  bow  on  the  important  note. 

Example  in  Leonard's  cadence  to  Beethoven  concerto. 


The  melody  being  in  the  upper  voice  the  bow  must  be  heavier  on  the 
upper  string,  and  barely  touch  the  lower  notes,  thus  giving  a  beautiful  effect, 
difficult  to  produce. 

These  two  points  being  clear  to  the  pupil,  we  can  refer  to  certain  passages 
in  the  Sonata  as  being  in  "Category"  I  or  II  of  bowings  for  double  notes. 


54  ANALYSIS     AND     INTERPRETATION 

First  Movement :    "Adagio" 

In  this  movement  observe  closely  two  difficult  points:  i.  The  "division 
of  time"  made  complicated  by  the  variet}^  of  "notes-values''  in  each  measure. 
2.  The  "melody"  must  be  recognized  closely  in  every  measure  and  made  to 
stand  above  the  flow  of  polyphony.  As  soon  as  the  student  has  learned  the 
notes  forming  the  melody,  let  him  play  them  alone,  without  the  chords,  so 
that  the  melody  may  be  well  fixed  in  the  mind' and  continue  to  stand  out 
clearlv  when  the  movement  is  played  as  it  is  written. 

Take  for  example  this  chord  appearing  in  the  second  meas- 
•ure,  of  which  Bb  is  the  melodic  note.     After  striking  the  chord 
:the  pressure  must  be  greater  on  "Bb"  than  on   "G"'  above,  the 
)Ow  leaving  the  upper  "G"  a  second  before  stopping  the  vibra- 
tion of  the  "Bb,"  thus  making  the  melody  prominent. 
This  movement,  if  played  correctly,  is  majestic  and  gives  the  impression 
of  a   superb   improvization.     Too   much  vibrato   would   at  once   destroy   the 
profound  tranquillity  of  the  'Adagio." 

Second  Movement:     Fuga-Allegro 

Like  all  Fugues  this  is  of  a  rhythmic  character  and  forms  a  striking  con- 
trast to  the  Adagio.  Likewise  the  fourth  movement  is  in  no  way  analogous  to 
the  third  movement. 

The  Fugue  demands  energy;  the 
S^reatest  difficulty  .is  to  pronounce 
clearly  at  all  times  the  theme.  For  ex 
ample,  in  the  second  and  fourth  meas- 
ures of  the  fourth  line  the  counterpoint  on  the  E  string  renders  the  theme 
on  the  A  string  very  difficult  to  play  clearly.  We  have  there  an  example  of 
the  second  category  of  double  notes ;  that  is,  where  one  must  press  the  bow 
more  on  one  string  than  on  another. 

Bach  was  an  organist,  and  naturally  wrote  many  compositions  first  for 
that  instrument.  This  Fuga  for  example  was  first  written  for  organ,  and  it  is 
advisable  for  the  pupil  to  think  of  that  fact,  for  in  many  passages  it  will  aid 
him  to  strive  for  the  organ  eiTect,  as  nearly  as  possible,  on  the  violin.  The 
open  "D"  string  throughout  the  five  measures  before  letter  "K"  must  be  rela- 
tive in  effect  to  the  continual  sonority  an  organist  could  give  by  holding  with 
his  foot  the  pedal  tone  "D."  The  tone  can  be  made  to  ring  continually  by 
avoiding  any  contact  of  the  fingers  against  the  open  D  string,  and  by  a  full 
sweep  of  the  bow  across  the  string  whether  it  be  piano  or  forte.  A  similar 
passage  appears  four  measures  before  letter  "G."  and  the  tempo,  beginning 
with  the  first  measure  of  "G,"  must  be  exactly  the  same  as  the  opening  meas- 
use  of  the  "Fufra,"  steady  and  even. 


pf  yUJ'  Ley-^^. 


•BACH     SONATA 


55 


Third  Movement :     Siciliano 

This  admirable  melody  with  its  exlraoruinary  charm  and  repose  is  all 
the  more  striking  after  the  rigorous  rhythm  of  the  Fugue. 

Here,  as  in  the  "Adagio,"  the  student  must  search  carefully  for  the  me- 
lodic notes,  and  there  are  one  or  two  places  w-here  a  melody  does  not  finish 
until  after  another  is  begun  ;  the  execution  of  these  measures  is  particularly 
difficult. 


N^ 


h^ 


ayij^Tr^ 


^         Ex.    I. 

measure). 


Letter    N     (last    half    of 


Another  example  can  be  found  in 
the  first  half  or  the  second  measure,  of 
the  sixth  line. 


Both  of  these  examples  are  of  the  second  category  of  bowings.  The 
greatest  pressure  of  the  bow  must  fall  on  the  lower  notes,  which  are  marked 
forte;  the  upper  ones  piano. 

Fourth  Movement :     Presto 

A  common  fault  is  to  play  the  "Presto"  too  fast,  making  is  impossible  to 
pronounce  clearly  the  harmonic  steps,  or  to  mark  precisely  the  contrast  of 
rhythm  obtained  by  different  "slurs"  or  "bowings"  very  well  marked  in  this 
edition.  Another  and  more  common  fault  of  the  pupil  is  to  give  the  opening 
measures,  which  are  written  in  fs  time,  with  an  accent  as  though  they  were 
written   thus  in  2/4  time: 


i  ' '  ^t>^'  U  /•  /  r4^:_k/J 


giving  the  mpression  of  two  beats  in  a  measure  instead  of  three  in  a 
measure.  Practice  slowly  with  a  metronome  three  in  a  measure,  and  increase 
the  tempo  after  one  week;  but  never  so  fast  but  that  every  mark  can  be 
given  distinctly.  Otherwise  the  movemnt  becomes  only  a  cheap  "perpetuo 
moto." 


Liberty    and    License    in    Interpretation 

by  Otto   K.   Schill 

INTERPRETATION  is  probably  the  most  abused  term  in  musical  phrase-" 
ologv,  since  it  is  made  responsible  for  each  and  every  kind  of 
liberty  a  musician  takes  in  performing  a  composition,  be  he  an  artist 
or  an  amateur.  No  piece  will  make  an  "impression"  on  an  audi- 
ence, no  matter  how  accurately  played,  if  it  is  not  distinguished  by  a  cer- 
tain style.  Each  artist  will — intentionally  or  unintentionally-.-show  indi- 
viduality in  his  performance.  Where  is  the  law'  telling  him  how  far  to  go  in 
his  liberties?    Where  is  the  boundary  which  he  should  not  overstep? 

Edmund  Singer  used  to  say :  "Every  and  any  style  in  the  interpretation 
of  music  is  allowed  except  the  one  which  bores  the  listener."  He  also  said: 
"If  a  piece  of  music  were  to  be  marked  with  all  the  marks  necessary  for  an 
artistic  performance,  enough  expression  marks  would  be  required  to  almost 
cover  up  the  notes." 

Still,  the  composer  does  not  always  mark  his  own  works  adequately 
or  eft'ectivel}',  because  he  often  is  not  conscious  of  the  nuances,  ritardandos, 
stringendos,  rubatos,  and  other  deviations  which  he  makes  when  playing  his 
own  pieces ;  and  the  interpreter  sometimes  finds  a  more  effective  way,  and 
consequently  makes  more  out  of  the  composition  than  the  composer  him- 
self. If  he  improves  a  piece  in  a  legitimate  way,  who  will  blame  him?  But 
many  performers  overstep  the  boundary  which  good  taste  dictates.  Has  any 
artist  a  right  to  play : 


^^^^p^v,s  |^r/:fi^^Mj 


m 


It  is  astonishing,  too,  how  much  a  general  audience  will  endure 
the  way  of  vibrato,  portamento  and  glissando,  and  how^  willing  some  artists 
are  to  cater  to  the  popular  taste.  A  well-known  virtuoso  thus  almost  drove 
me  out  of  the  concert  hall  a  few  years  ago  by  his  incessant  howling,  sliding 
and  excessive  tremolo  in  Raff's  Cavatina ;  and  when  he  paid  another  profes- 
sional visit  a  year  or  so  later,  he  was  requested — hard  to  believe — to  play  the 
Cavatina  again. 

As  a  rule,  every  composition  should  be  performed  as  nearly  as  possible 
in  the  spirit  the  composer  conceived  it.  A  Bach  Sonata,  a  Spohr  Concerto, 
or  a  Beethoven  Romance  should  be  played  in  a  strictly  classical  style,  not 
with  rubato  and  other  liberties  in  time,  such  as  Vieuxtemps,  Wieniawski  and 
Sarasate  pieces  call  for.  But,  as  Bach  and  other  ancient  writers  did  not  give  ex- 
pression marks,  and  few  indications  of  tempo,  ritardando  and  the  like — and  even 
modern  composers  give  such  marks  sparingly — it  must  l)e  left  to  the  performer 


MUSICAL    INTERPRETATION 


57 


to  play  such  pieces  as  he  sees  ht.  wliether  his  jud^nicni  and  musical  taste  is  ^ood 
or  not. 

No  matter  how  a  com]>ositi()U  may  l)e  ])hrased.  finoered  and  howed,  what  and 
where  expression  marks  are  given,  it  can  never  and  should  never  suit  every  artist. 
These  marks  merely  express  the  personal  idea  of  the  inter]:»retation  of  the  person 
who  furnishes  them,  and  other  players  will  often  disagree  with  him.  Besides,  it 
IS  as  impossible  to  indicate  with  accuracy  how  to  interpret  a  piece  as  it  is  to  indi- 
cate in  a  poem  how  to  recite  it.     That  must  be  felt  by  the  interpreter. 

Adoration  —  Borowski 

Though  personally  not  in  favor  of  metronomes,  I  think  a  composer's 
own  idea  of  his  tempi,  given  in  metronome  figures  is  worth  more  than  such 
words  as  andante,  moderato,  etc.,  which  have  no  uniform  or  even  approxi- 
mate meaning.     The  first    (andante)   movement  of  the  Adoration  might  be 


played    n^  .'n{J^,i7-l2i 
the  allegro  agitato  (bars  39  to  58),    >v,---k.c/=  ^:.    /' 


with  a  ritard,  from  the  end  of  bar  13  to  the  beginning  of  bar  15  : 

Bar  15  should  be  played  "a  tempo,"  bar 
16  ritard,  and  bar  17  in  tempo  again,  with 
anotiier  rallentando  in  bar  33,  and  bar  34  "a 
tempo."  In  the  allegro  movement  play 
stringendo  from  bar  50  or  51  to  the  third 
beat  of  bar  53 :    ■ 


V-ty.'i"  In 


a. 3.       3        S:_ 


^^^v 


r  I  txrn-'^.rxr^rJ' ,  ffrM:^^^n^  r 


I 


iX~Ji^^\A.o     SL,      c.'u.-^.iJ^^^-J-^ 


A  ritard  in  bar  53  is  certainly  desirable, 
followed  by  a  new  allegro  mark  for  the 
piano,  at  bar  55.  Accompanists  frequently 
play  bars  55  to  57  too  slowly;  at  bar  57  (not 
58  as  printed)  play  molto  rallent,  leading 
back  to  the  tempo  prime  (bar  39).  In  this 
third  section  the  same  changes  should  be 
observed  as  in  the  first,  and  at  the  end  I 
ahvays  change  the  last  3  bars,  reducing 
them  to  two,  thus : 

(Some  violinists  may  be  glad  to  adopt 


"Tssca^^oC" 


^ 


58 


ANALYSIS     AND     INTERPRETATION 


this,   since   these   half   notes   are   really   very   long   notes   on   account   of  the 
ritardando.) 

So  much  about  the  tempo  and  its  modifications.     The  composer  marks 
arpeggios  in  bars  5  to  8  in  the  piano  part;    did  he  mean  to  have  them  con- 
tinued throughout  bars  9-19  and  again  at  the  repetitions? 
jy  ^        /  o^^— ^      The  word  segue  or  simile  would  have  precluded  any  pos- 
^      Y^   \^    —      sible  doubt,  but  as  neither  is  given,  the  pianist  must  use 
(.5  his  own  judgment.    There  is  a  peculiar  charm  and  mean- 

ing   in    this    phrase    (bars    29-30),    which    ought    to    be    emphasized    and    so 


marked  ;  another  motif  in  the  piano-part  should  be  brought  out  prominently 
and  might  be  marked : 


i 


7 


and  should  be  continued  from  bars  42  to  50. 

The  composition  should  be   played  in   a  broad  and 
dignified  manner,  with  a  large  full  tone,  from  the  begin-    ^ 
ning  of  the  solo  to  bar  12:  z 

Begin  the  second  phrases  (4th  beat  of  the  bar  12)  very 
softly  (observing  the  swell  given  in  the  bars  13  to  16,  of  course)  with  a  great 
crescendo  in  the  i6th  bar.    In  bars  25  and  29  use  this  fingering: 

Bars  26  and  30  should  be  played  entirely  on 
the  A  string,  and  I  should  give  the  triplet  as  in 
bar  26  the  preference  over  the  turn  of  bar  30, 
and    should    play   both    measures    exactly   alike, 

~>X^ 

0  ZT  u>  f}  I 


thus : 

In  bar  3S,  change  the  chord  to  a  single  F 
sharp  "on  the  G  string,  which  seems  to  connect 
the    two    movements    more    naturally,    especially 


TTTT 


-w 


p 


change  to 


m^ 


V- 


ADORATION— BOROWSKI 


59 


if  a  great  crescendo  is  made  in  that  bar.  Tlie  agitato  movement  requires  a 
spirited  execution,  considerable  vibrato  on  the  sustained  notes,  a  strict 
observing  of  crescendo  and  diminuendo  marks,  the  tone  greatly  increasing 
in  volume  from  bars  50  to  55,  combined  with  an  accelerando,  which,  however, 
must  abate  on  the  last  half  of  bar  53,  a  ritard  taking  its  place,  while  the  tone 
continues  "forte"  to  the  end  of  the  phrase.  For  euphonic  reasons  I  could 
never  withstand  the  temptation  to  change  bar  47  (allegro)  : 


K     y   0-- 


as  the  A  natural  is  probably  a  misprint.    The  phrase       ,_r- 
which  occurs  in  bars  44,  48  and  50  I  invariably  play 
in  one  stroke,  instead  of  two.     Similarly  I  prefer: 


ZiZL 


y^nj7\id  r^^^m 


to  the  given  bowing  (bars  6  and  7  and  60  and  61) 


and  the  following  fingering  and  phrasing  from  bar  74  to  the  end  seem  to  pro- 
duce a  smoother  and  more  tranquil  effect  than  the  original  one: 


Borowski  himself  marks  the  3d  section  (bar  59)  with  a  triple  forte;  and 

no  violinist  can  ever  draw  too  much  tone  at  this  recur- 

•^  rence  of  the   first  theme.     Advanced  players  may  even 

risk  playing  the  first  8  bars  in  octaves,  thereby  increasing 

the  desire   effect.     This,  however,  is    optional    and    the 

single  notes  will  be  fully  satisfying,  if  played  with  the 

requisite  enthusiasm,  repose  and  supreme  majesty,  which  should  characterize 

the  performance  of  this  noble  and  favorite  piece. 


Gavlcrd    Yost 


Humoreske— -Dvorak 

by  Gaylord  Yost 

(KNOW  of  no  modern  composition  tiiat  has  become  more  popular  among 
violinists  and  music  lovers  than  Dvorak's  Humoreske.  The  name  itself 
is  rather  misleading,  and  many  think  that  the  composition  must  be 
interpreted  in  a  humorous  way.  Not  so.  Dvorak  never  meant  it  so.  He 
meant  it  as  a  "whim"  or  "humor." 

Humoreske  was  .originally  written  for  piano,  but  has  been  arranged  for 
violin  and  piano  by  Fritz  Kreisler,  August  Wilhelmj  and  Fabian  Rehfeld. 
The  latter  is  by  far  the  most  popular  arrangement  because  of  its  simplicity. 
A  more  artistic  arrangement  is  the  one  by  Kreisler.  In  the  first  place,  let 
the  reader  play  Figure  I,  then  Figure  H,  on  the  piano,  and  he  will  very  readily 
hear  that  Figure  H  has  the  quiet,  restful  air.  The  original  key  is  G  flat, 
and  Kreisler  knew  that  Dvorak  had  a  reason  for  writing  it  in  G  flat. 

The  tempo  is  marked  "Poco  lento  e  grazioso,"  and  should  not  be  taken 
too  fast.  Many  play  the  first  measures  "rubato,"  but  this  is  not  in  the  style 
of  this  composition,  and  is  not  advisable.  It  should  be  played  with  an  even, 
singing  tone,  observing  the  expression  marks  as  much  as  your  own  individu- 
ality will  allow.  The  first  theme  should  be  announced  in  a  quiet,  restful- 
way  and  should  be  played  in  an  even  tempo  unl*'!  measure  No.  i6,  v/here  a 
slight  ritardando  is  made  before  the  return  of  the  first  theme.     The  second 


t7  .    . 


■Uz^ 


62 


ANALYSIS     AND     INTERPRETATION 


theme  (Figure  III)  should  be  taken  a  trifle  faster  than  the  first  theme.  From 
measure  No.  i6  to  the  change  of  key,  it  must  be  played  as  softly  as  possible. 
The  theme  (Figure  IV)  must  be  taken  in  a  faster  tempo  and  should  be  well 
marked.  Kreisler  has  written  "Poco  piu  vivo"  here.  A  gradual  "Crescendo" 
should  be  worked  up  from  the  change  of  key  to  the  hold  before  the  return 
of  first  theme.  This  theme  should  be  played  again  as  softly  as  possible.  The 
second  theme  is  now  taken  up  again  in  double  stops.  It  ends  with  a  slight 
"morendo"  and  "ritardando,"  bringing  the  composition  to  a  close. 


Legende  —  Carl  Bohm 

by  Margaret  De  Long  Tearse 

The  Legende  of  Carl  Bohm  rivals  that  of  Henri  Wieniawski  in 
popularity.  Though  written  primarily  to  be  played  with  piano,  its  ac- 
companiment is  more  satisfactory  on  the  pipe  organ.  In  the  key  of 
C  minor,  the  whole  character  is  that  of  unrest,  struggle,  tragedy. 

The  violin  part  begins  softly,  and  should  be  played  with  the  entire 
bow  length,  in  singing  style.  Let  the  tone  be  very  even,  with  a  slow 
vibrato  on  the  half  and  dotted  half  notes.  Though  the  last  two  quar- 
ter notes  in  measures  nine,  thirteen,  etc.,  are  detached. 


4A  iV  "\ 


still  their  separation   should  be  almost  imperceptible  so  as  to  be  in 
character  with  the  theme. 

The  phrase  beginning  softly  with  measure  sixteen 


rifrir"  rir^ 


is  immediately  answered  by  just  a  whispered  repetition. 


LEGENDE— BOHM  63 

Then  begins  a  gradual  crescendo  ending  only  with  the  G  chord 
in  measure  twenty-nine. 

The  cantabile  double  steps  immediately  following  require  again 
the  entire  bow  length. 

In  measures  thirty-three  and  thirty-four  play  the  eighth  notes  first 
with  the  upper  third  and  then  with  the  lower  third  of  the  bow. 

LT 


^      ^^  M       /    t  —        ^^ 


^'\'?  ttr    ^ll'll  \rj     .^M.1 


In  measure  thirty-five  continue  with  whole  bow. 

Beginning  with  measure  thirty-seven  a  stronger,  fuller  tone 
should  be  employed  making  the  idea  more  forceful. 

With  measure  forty-one  begins  a  hurrying  crescendo  ending  with 
the  E  flat  octave. 

There  is  a  respite  of  two  measures  only  to  begin  another  cres- 
cendo, bringing  us  to  the  climax  of  the  solo. 

In  measure  forty-nine  the  bow  must  move  with  great  rapidity  in 
order  to  produce  a  full  resonant  tone  without  sacrificing  the  tempo. 
In  beginning  the  climax  leave  plenty  of  reserve  tone  power  for  the 
chromatic  octaves.  It  is  hard  to  overdo  the  accents  in  measures  fifty 
and  fifty-'one.  They  not  only  give  character,  but  help  toward  faultless 
intonation  on  the  chromatic  octaves  for  unconsciously  as  the  bow 
grips  the  strings,  the  first  and  fourth  fingers  become  set  in  position  for 
their  descent  over  the  four  strings  to  the  lowest  octave  possible  on 
the  violin. 

Again  are  the  syncopated  notes  used  to  emphasize  the  restless 
hurried  action  which  however  subsides,  ending  in  a  few  wearied  sighs, 
denoted  by  the  triplets.  Play  these  with  broad  though  slightly  sepa- 
rated tones  and  make  much  of  the  retard  at  the  end. 

The  piano  introduction  is  repeated  as  an  interlude  whereupon 
the  violin — now  muted — takes  up  its  first  theme  an  octave  below  the 
original. 

Make  a  change  from  the  third  to  the  second  position  between 
the  ninety-third  and  ninety-fourth  measures  thus : 


t 


^=s;: 


^'d  J2 


The  sustained  C  grows  more  and  more  diminished  ending  with  the 
faintest  whispers  in  measure  ninety-six. 


J.  Willard  Swihart 


Mazurka  di  Concert — Ovide  Musin 

by  J.  Willard  Swihart 

The  above  article  was  referred  to  Mr.  Ovide  Musin.  He  says:  "The  manu- 
script you  forwarded  to  me  meets  with  my  approval,  with  one  addition.  The 
player  should  be  sure  that  he  is  rendering  the  piece  in  tune." 

To  endeavor  to  say  anything  new  relative  to  this  much-played  composi- 
tion is  not  the  object  of  this  article.  But  if,  however,  the  following  remarks 
should  prove  in  any  way  suggestive  to  students  of  the  violin  and  young 
players  who  have  not  yet  had  the  advantage  of  extensive  study  with  capable 
instructors,  they  will  have  served  their  purpose. 

We  will  omit  any  discussion  of  the  introduction  which  is  seldom 
played  in  public.  In  the  first  measure  oi  the  Mazurka  proper  (violin  part) 
lengthen  the  eighth  notes,  and  use  just  enough  bow  on  the  sixteenths  to 
make  them  heard,  and  heard  solidly,  play  each  group  separate  up  bow,  re- 
gaining the  bow  to  the  tip  for  each  attack.  Second  measure — prolong  the 
h  a  trifle  thus  shortening  the  value  of  the  following  thirty-second  notes,  which 
should  be  taken  with  abandon;  accent  the  following  C#  as  indicated.  The 
third  and  fourth  measures  being  sequences  of  the  preceding,  may  receive 
like  treatment.  In  the  fifth  measure  the  rail,  and  hold  should  be  duly  observed, 
.and  also  the  hold  in  the  following  measure  (separate  strokes  on  the  c#  and 
b  preferable  I  think.) 

In  measure  7.  start  each  group  of  six  notes  with  emphasis,  and  take  the 
•whole  measure  with  stringendo  efifect.  The  following  measures  are  to  be 
taken  in  the  same  speed  but  observing  rail,  on  last  group  of  sixteenth  notes, 
and  bringing  bow  well  to  the  pC)int. 

The  movement  Presto  should  be  held  well  to  tempo,  care  being  taken  not 
to  accelerate  in  the  third  measure  nor  to  break  the  time  in  the  seventh. 

The  Trio  in  my  opinion  should  be  taken  strictly  Allegro  Vivace  as  it  loses 
in  effect  when  taken  slower.  Measure  four,  2nd  and  3rd  beats  may  be  played 
arco  (slurred)  when  moist  fingers  prevent  its  rendition  as  indicated,  in  which 
case  start  with  b  2nd  space  above,  and  make  the  run  scale-wise  to  low  g  in 
thirds.     The  trio  otherwise  played  pizz.  and  arco  as  indicated. 

Regarding  the  Piu  mosso,  to  quote  a  prominent  violin  pedagogue — "Make 
it  howl."  But  I  would  add,  still  keep  note  values  in  mind,  and  not  allow 
yourself  Vo  be  swept  off  your  feet,  musically  speaking.  In  the  seventh  meas- 
ure I  prefer  the  broken  chords  ricochet,  3  down  and  one  up  for  each  group, 
with  the  following  measure  taken  as  marked,  but  gradually  slower  and 
broader.  To  quote  a  German  phrase,  "The  last  drop  goes  out  of  the  barrel 
the  slowest." 


66  ANALYSIS     AND     INTERPRETATION 

The  remaining  portion  of  the  composition  being  repetition  further  com- 
ment is  unnecessary. 

As  for  the  Mazurka  as  a  whole  it  should  be  played  crisply,  daintily,  and 
with  ease,  avoiding  exaggeration,  giving  breadth  and  dignity  where  possible 
and  keeping  the  balance  of  parts  and  the  spirit  of  the  contrasting  sections 
well  in  mind. 

Note. — I  beg  to  acknowledge  my  indebtedness  to  my  friend  and  one-time 
pupil,  Mrs.  Florence  Queareau,  for  several  quotations,  and  some  phraseology 
contained  in  the  above. 


Gavotte  in    D  — Handel 

ORIGINAL    TRANSCRIPTION— TECHNICAL    AND     DESCRIPTIVE 

ANALYSIS, 
by  Dr.  Johann  M.  Blose 

^,T■  ENTION  Handel  and  the  violinist  will  think  of  "Largo,"  that  much 
■'  I  abused  yet  sublime  tone-poem.  The  subject  of  this  article  is  a  trifle 
•-*-  more  difficult  of  execution  (physical  mechanism),  but  not  nearly  so 
difficult  to  play  well.  Violinists  will  find  no  technical  difficulties  connected 
with  "Gavotte  in  D." 

Descriptively  it  is  no  sequel  of  the  Schumann  "Traumerei"  (an  awaken- 
ing dream  of  childhood)  ;  nor  of  a  Mendelssohn  "Spring  Song"  (a  careless 
rapture  of  nature),  nor  the  sweet  and  delicate  charm  of  a  Mozart  "Minuetto"; 
but  a  tone-autobiography  of  a  person  who  possessed  a  powerful,  almost  pon- 
derous mind,  who  was  the  lion  (as  a  musician)  and  the  greatest  composer  of 
his  age,  and  who  was  also  a  most  loving  and  tender-hearted  philanthropist. 
These  characteristics,  embracing  all  that  can  be  associated  with  a  strong 
Avill  and  a  compassionate  soul  are  beautifully  set  forth  in  this  tone-painting. 

Tune  the  violin  thus  : 

Three  motives  represent  the  structural  content  of  the      -y      '^ 
work  until  we  reach  the  Intermezzo.    They  are  as  follows  :      uu 

Allegro  con  spirito.  -5^ 


fiJlL^iyi^M'^W^Bu^!''- 


>  ^a)     //M^)  '    '>^^ 


The  tempo  is  marked  Allegro  con  spirito,  which  has  reference  to  the 
character  of  the  production  rather  than  to  real  speed  (so  many  quarter  notes 
per  minute). 

The  opening  motive  by  three-quarter  notes  should  be  played  with  full 
and  strong,  but  gliding  strokes  of  the  bow.  Please  note  I  use  the  term 
gliding.  Dragging  the  bow  will  not  answer  the  demands  of  this  motive, 
which  must  be  played  a  trifle  slower  than  the  general  movement,  so  that 
dignity  and  honor  may  be  preserved.    This  motive  appears  identically  and  in 

19 


68  ANALYSIS     AND     INTERPRETATION 

its  development  twenty  times.  The  next  (second)  motive  consists  of  two- 
eighths  and  one  quarter  and  is  played  three  times.  Here  the  tempo  in  its 
general  character  is  taken  and  the  bowing  is  upper  half,  light  and  free,  which 
supplies  ease  and  preparation  for  following  series  of  eighths  (third  motive), 
which  should  be  played  with  upper  half-bow,  but  contrasted  with  the  former 
(second)  motive  by  a  more  serious,  solid  tone,  yet  softer. 

The  second  subject  is  a  development  in  the  dominant  key  of  the   first. 
^^ _  ^  The    third    motive    of    the    above    ex- 

],'      "l  ^J/'il   ^     ^     \  '''•il'^^^^^yf       cerpts  is  given  to  the  piano  while  the 
^        /      '     '^/•■^i'  violin    plays   the   following   chords   as 

crisply,  delicately  and  as  much  by  placing  the  bow  on  three  strings  at  once 
as  is  possible. 

After  returning  to  the  Tonic  Key,  with  the  original  theme,  the  thought 
is  turned  over  to   F|   Minor  for  a  moment  of  humor  continuing  but  eight 
measures,  by  which  we  are  reminded  that 
"The  best  of  men 
Enjoy  a  little  nonsense — now  and  then." 
Before  closing  his  subject  the  master  returns  to  his  first  theme  again  ; 
but  this  time  a  climax  is  reached  by  varying  the  effect  through  strong,  bold 
and  full   chords   from    both    instruments,   reminding   us   of   the    dignity   and 
pomp  of  an  ancient  court. 


n        -^  ^  ^  ^ 

The  Intermezzo,  with  its  occasional  pedal  note  in  the  Dominant,  pos- 
sesses much  that  is  graceful  and  masterly.  The  tendency  of  present  days 
(thanks  to  the  spirit  that  leads  us  aright)  is  towards  a  refined  and  broad- 
toned  school  of  playing  which  is  free  from  that  scraping  that  characterized 
the  work  of  many  in  former  days.  The  whole  of  the  Intermezzo  must  be 
performed  in  a  most  serious  manner.  No  gliding,  as  in  former  passages,  but 
a  pleading  tone  which  can  be  produced  best  by  a  restful  and  steady  drawing 
of  the  bow.  This  movement,  may  I  say,  is  the  unworded  counterpart  of  a 
Gethseniane  prayer. 

The  first  subject  returns  and  the  close  is  in  harmony  with  art-laws  that 
guide  the  composer  in  his  creations.  Violinists  will  find  in  this  Gavotte  an 
excellent  program  number. 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 

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This  book  is  DUE  on  the  last  date  stamped  below.' 


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REC'O  MUS-LW 

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OKfV.  OF  CAir*.  LtBRART.  IH?  SSGSSl 


UCLA  -  Music  Library 

MT  140  A7  1911 


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UBRABX 

MT 

A? 
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